Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
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Síða 179
... Yessica's family survives at subsistent level - her mother takes in washing to sup- port the family , and her stepfather is unemployed . Miriam ' single mother , on the other hand , has a relatively Women's Cinema and Violence in Mexico ...
... Yessica's family survives at subsistent level - her mother takes in washing to sup- port the family , and her stepfather is unemployed . Miriam ' single mother , on the other hand , has a relatively Women's Cinema and Violence in Mexico ...
Síða 180
... Yessica has to climb down a makeshift ladder to reach her home , a non- descript , one - room cement hovel that she shares with her mother , stepfather , stepbrother , and her mother's new baby . Miriam , on the other hand , has her own ...
... Yessica has to climb down a makeshift ladder to reach her home , a non- descript , one - room cement hovel that she shares with her mother , stepfather , stepbrother , and her mother's new baby . Miriam , on the other hand , has her own ...
Síða 181
... Yessica walking down the street , the camera cuts back and forth from Yessica to the rapist . In both sets of shots , the point of view is neutral ; in other words , articulated from the position of the spectator . The cinematography ...
... Yessica walking down the street , the camera cuts back and forth from Yessica to the rapist . In both sets of shots , the point of view is neutral ; in other words , articulated from the position of the spectator . The cinematography ...
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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