Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
Niðurstöður 1 - 3 af 12
Síða 173
... Perfume de Violeta , I suggest instead that Iñárritu's film was more successful at the international box office because of its appropriation of a global aesthetic of violence that appeals directly to a globally identified audience ...
... Perfume de Violeta , I suggest instead that Iñárritu's film was more successful at the international box office because of its appropriation of a global aesthetic of violence that appeals directly to a globally identified audience ...
Síða 177
... Perfume de Violeta generalize the pervasive practice of violence against women that permeates most societies across the globe . However , it is at the interpretive level that the violence in Sin dejar huella and Perfume de Violeta makes ...
... Perfume de Violeta generalize the pervasive practice of violence against women that permeates most societies across the globe . However , it is at the interpretive level that the violence in Sin dejar huella and Perfume de Violeta makes ...
Síða 182
... Perfume de Violeta did not receive the international acclaim that films like Amores Perros did . Violence is certainly a popular subject and visual strategy , especially the aesthetic of hyper - real violence , as evidenced by the ...
... Perfume de Violeta did not receive the international acclaim that films like Amores Perros did . Violence is certainly a popular subject and visual strategy , especially the aesthetic of hyper - real violence , as evidenced by the ...
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