Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 18
Síða 11
... voices . Duras tuning herself to the unknown ends up meeting with her simplest self : being a woman . The gap left ... voice and the way its presence and absence musically structure the filmic space . Working with voices and work- ing ...
... voices . Duras tuning herself to the unknown ends up meeting with her simplest self : being a woman . The gap left ... voice and the way its presence and absence musically structure the filmic space . Working with voices and work- ing ...
Síða 12
... voice and image , but also the compartmentalization of sensual and / or intellectual faculties . Voice is breath . A wo / man's breath manifested outwardly , the sound and color of a voice are , in fact , one and the same : movement ...
... voice and image , but also the compartmentalization of sensual and / or intellectual faculties . Voice is breath . A wo / man's breath manifested outwardly , the sound and color of a voice are , in fact , one and the same : movement ...
Síða 52
... voice at his expense . She did not fight his work ( neither his “ grand design ” nor his " Gogol - obsession " ) but insisted on her own space and voice . The frame of fore / afterword placed around her texts and image has enough ...
... voice at his expense . She did not fight his work ( neither his “ grand design ” nor his " Gogol - obsession " ) but insisted on her own space and voice . The frame of fore / afterword placed around her texts and image has enough ...
Efni
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
5 aðrir hlutar ekki sýndir
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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