Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 81
... narrative strands depict both women's and men's oppression under neo - colonialism . The first narrative strand is comprised of brief sequences of off- screen narration voiced by Safi Faye herself . The narration takes the " structural ...
... narrative strands depict both women's and men's oppression under neo - colonialism . The first narrative strand is comprised of brief sequences of off- screen narration voiced by Safi Faye herself . The narration takes the " structural ...
Síða 120
... narrative within this context . " The House that Jack Built , ” ( 1966 ) condenses several types of male oppression into a single allegorical narrative . Emma is left a country house by her mysterious Uncle Jack . However , the uncle ...
... narrative within this context . " The House that Jack Built , ” ( 1966 ) condenses several types of male oppression into a single allegorical narrative . Emma is left a country house by her mysterious Uncle Jack . However , the uncle ...
Síða 126
... narrative is episodic and is basically a pas- tiche of sensationalized episodes of violence knitted together into a narrative . Each image culminates in a death threat to Emma . Von Schnerk implicitly picks Emma for the lead because she ...
... narrative is episodic and is basically a pas- tiche of sensationalized episodes of violence knitted together into a narrative . Each image culminates in a death threat to Emma . Von Schnerk implicitly picks Emma for the lead because she ...
Efni
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
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action aesthetic African already appears artist attempt Avengers become begins body called camp Canetti characters cinema computational connection constitutes construction contemporary continued corporeal create critical critique cultural death desire difference direct discourse distinction effects Elias Emma escape example expression fact fantasies female feminine feminism feminist figure film Finsterlicht's forced Foreword function gender German gives historical identity issues Kino International Leni Riefenstahl living look machine male materiality matter meaning narrative Nazi never Notes object offers performance physical play political position possible practices present production propaganda prostitute question reading relation remain representation response returns Riefenstahl roles sexual shame signifier signs situation social society space specific story Street structure struggle suggests takes television thing traditional Veza voice Western woman women writes York