Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
Niðurstöður 1 - 3 af 8
Síða 173
... Giroux calls " hyper - real vio- lence . " For Giroux , there are three roads filmmakers can take in their imagining of cinematic violence . First , there is ritualistic vio- lence , which is featured in such films as the Die Hard ...
... Giroux calls " hyper - real vio- lence . " For Giroux , there are three roads filmmakers can take in their imagining of cinematic violence . First , there is ritualistic vio- lence , which is featured in such films as the Die Hard ...
Síða 174
... Giroux's concern is that this aesthetic of violence allows audiences to comfortably refuse any complicity or involvement for engaging the relationship between symbolic and real violence.10 It is this particular cinematic aesthetic that ...
... Giroux's concern is that this aesthetic of violence allows audiences to comfortably refuse any complicity or involvement for engaging the relationship between symbolic and real violence.10 It is this particular cinematic aesthetic that ...
Síða 184
... Giroux , “ Racism and the Aesthetic of Hyper - real Violence : Pulp Fic- tion and Other Visual Tragedies , " Social Identities 1 , no . 2 ( 1995 ) : 333–54 , quotation on 338 . 9 Ibid . , 337 . 10 Ibid . , 338–39 . For example , Giroux ...
... Giroux , “ Racism and the Aesthetic of Hyper - real Violence : Pulp Fic- tion and Other Visual Tragedies , " Social Identities 1 , no . 2 ( 1995 ) : 333–54 , quotation on 338 . 9 Ibid . , 337 . 10 Ibid . , 338–39 . For example , Giroux ...
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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