Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 16
Síða 48
... production by Venetiana / Veza would have taken place without his production , nor would it have continued without him as he insists in the afterword to Der Oger : " I had encouraged her to write in everyway possible : I praised with ...
... production by Venetiana / Veza would have taken place without his production , nor would it have continued without him as he insists in the afterword to Der Oger : " I had encouraged her to write in everyway possible : I praised with ...
Síða 122
... production techniques , an ambiguity embodied in Andy Warhol's famed paintings of rows of identical Campbell soup cans and Roy Lichtenstein's use of comic strip icons as subjects for his paintings . Pop Art's democratization of ...
... production techniques , an ambiguity embodied in Andy Warhol's famed paintings of rows of identical Campbell soup cans and Roy Lichtenstein's use of comic strip icons as subjects for his paintings . Pop Art's democratization of ...
Síða 143
... produce effects of depth . It is in the finale of the book , “ Sexual Difference , " that Grosz takes off into some of her own theories . This is a bravura chapter , the chief hypothesis of which is that " women's corporeality is ...
... produce effects of depth . It is in the finale of the book , “ Sexual Difference , " that Grosz takes off into some of her own theories . This is a bravura chapter , the chief hypothesis of which is that " women's corporeality is ...
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