Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 29
... questions implicates the entire critique and self- critique of Riefenstahl not in a failure to find praise or blame , which Riefenstahl has seldom escaped , but in an inability to situate the process of both praising and blaming within ...
... questions implicates the entire critique and self- critique of Riefenstahl not in a failure to find praise or blame , which Riefenstahl has seldom escaped , but in an inability to situate the process of both praising and blaming within ...
Síða 43
... questions we most want to hear answered . Riefenstahl remains in control of her image to a remarkable degree . The flashes of prolepsis we may feel at certain moments in the film , such as during the beginning montage , become ...
... questions we most want to hear answered . Riefenstahl remains in control of her image to a remarkable degree . The flashes of prolepsis we may feel at certain moments in the film , such as during the beginning montage , become ...
Síða 145
... questions concerning cor- poreality and technology in the School of Philosophy , University of Sydney . He has completed a ... question of style as an under - examined concept in contemporary theory . Sheila Petty is currently Associate ...
... questions concerning cor- poreality and technology in the School of Philosophy , University of Sydney . He has completed a ... question of style as an under - examined concept in contemporary theory . Sheila Petty is currently Associate ...
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