Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
Niðurstöður 1 - 3 af 4
Síða 250
... Cruz ; she slaps him , scolds him , and calls him “ the family's black sheep . " Because of Cruz's pride , the other members of the family must work together behind his back to settle his debts : as the only one in whom Cruz can confide ...
... Cruz ; she slaps him , scolds him , and calls him “ the family's black sheep . " Because of Cruz's pride , the other members of the family must work together behind his back to settle his debts : as the only one in whom Cruz can confide ...
Síða 251
... Cruz , supposedly to rescue him from the corrupt politicians who are manipulating Cruz and , once again , to save his parents ' marriage . The film makes the most of the interplay between Silvano's and Cruz's respective public and ...
... Cruz , supposedly to rescue him from the corrupt politicians who are manipulating Cruz and , once again , to save his parents ' marriage . The film makes the most of the interplay between Silvano's and Cruz's respective public and ...
Síða 252
... Cruz's behavior , Bibiana prepares to die and stages the reconciliation between father and son . She tells them , " Let your reconciliation be the last thing I see . " This request turns the rivalry between Silvano and Cruz into a ...
... Cruz's behavior , Bibiana prepares to die and stages the reconciliation between father and son . She tells them , " Let your reconciliation be the last thing I see . " This request turns the rivalry between Silvano and Cruz into a ...
Efni
Womens Cinema and Contemporary Allegories of Violence | 170 |
Utopian Architecture | 186 |
Ethics Aesthetics and the Future in Alfonso Cuaróns Children | 212 |
Höfundarréttur | |
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aesthetic Alfonso Cuarón American Amores Perros argues Asian audiences Barney's Benthien body Brooks camera characters Children Children of Men contemporary context CREMASTER critical critique Cruz Cruz's Cuarón's cultural Deleuze Derrida digital art digital image Discourse dramatic dystopian Eliot's essay ethical experience figure film film's filmic Foucault Freud function Gary Gilmore Gilles Deleuze Giroux Gledhill global Hansen historical huella and Perfume human Ibid ideas identity Imagination internal limit Iwamura Kwai Chang Caine maître d Matthew Barney Mavor melo melodrama melodramatic mode Mexican Mexico modern moral mother narrative objects Oriental Monk Perfume de Violeta political postmodern problem produced Prosthetic Head queer quotation rape reality Reas representation Sade Sade's scene screen shots Silvano Sin dejar huella Slavoj Žižek social sociopolitical space specific spiritual Stelarc Stella Dallas suffering symbolic Theo theory tion touch trans Transgression University Press utopia viewer virtual virtue and evil visual Waste Land Yessica York