Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 31
... response in himself or his fellow inmates , Levi observed : To destroy a man is difficult , almost as difficult as to create one : it has not been easy , nor quick , but you Germans have succeeded . Here we are , docile under your gaze ...
... response in himself or his fellow inmates , Levi observed : To destroy a man is difficult , almost as difficult as to create one : it has not been easy , nor quick , but you Germans have succeeded . Here we are , docile under your gaze ...
Síða 34
... response . We engage a necessarily and inescapably situated response that adheres not to texts in themselves but to history and conscience . 23 Prolepsis moves us toward a distinct form of collective witnessing that operates beyond art ...
... response . We engage a necessarily and inescapably situated response that adheres not to texts in themselves but to history and conscience . 23 Prolepsis moves us toward a distinct form of collective witnessing that operates beyond art ...
Síða 42
... response to what we see and hear of them . This indexical aspect of documentary film receives further exploration in Bill Nichols , Representing Reality : Issues and Concepts in Documentary ( Blooming- ton : Indiana U P , 1991 ) . 22 In ...
... response to what we see and hear of them . This indexical aspect of documentary film receives further exploration in Bill Nichols , Representing Reality : Issues and Concepts in Documentary ( Blooming- ton : Indiana U P , 1991 ) . 22 In ...
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