Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 56
Síða 28
... woman ” ( 49 ) exist . Thus , a masculin- ist paradigm elevates Riefenstahl to the ranks of artistic genius while a sexist stereotype of the depoliticized " woman artist " eliminates her own historical agency ; meanwhile , she is ...
... woman ” ( 49 ) exist . Thus , a masculin- ist paradigm elevates Riefenstahl to the ranks of artistic genius while a sexist stereotype of the depoliticized " woman artist " eliminates her own historical agency ; meanwhile , she is ...
Síða 35
... woman artist caught with- in an unseen set of double binds . Riefenstahl presents herself in her memoir , and in Müller's film , as an autonomous , determined woman and artist , but at the same time as someone at a loss , subject to the ...
... woman artist caught with- in an unseen set of double binds . Riefenstahl presents herself in her memoir , and in Müller's film , as an autonomous , determined woman and artist , but at the same time as someone at a loss , subject to the ...
Síða 79
... Woman , Villa , Car , Money and Xala . Rather , Maldoror concentrates on demonstrating the courage of a traditional woman : although Maria receives advice and direction from men during her journey , she nevertheless must , in all ...
... Woman , Villa , Car , Money and Xala . Rather , Maldoror concentrates on demonstrating the courage of a traditional woman : although Maria receives advice and direction from men during her journey , she nevertheless must , in all ...
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