Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
Niðurstöður 1 - 3 af 33
Síða 152
... figure that emerges in the second scene of Matthew Barney's CREMASTER 3 is certainly cadaverous if not dead - or undead . The first thing we see , however ... Figure 1. The emergent figure . Matthew Barney , CREMASTER 152 Michael Jay McClure.
... figure that emerges in the second scene of Matthew Barney's CREMASTER 3 is certainly cadaverous if not dead - or undead . The first thing we see , however ... Figure 1. The emergent figure . Matthew Barney , CREMASTER 152 Michael Jay McClure.
Síða 155
... figure is the buried corpse of that movie's central character ( if such appella- tions apply ) , the murderer Gary Gilmore . In fact , at the end of that film , that " character " is seen buried deep in the frozen earth , ner- vous ...
... figure is the buried corpse of that movie's central character ( if such appella- tions apply ) , the murderer Gary Gilmore . In fact , at the end of that film , that " character " is seen buried deep in the frozen earth , ner- vous ...
Síða 195
... ( figure 2 ) . From the moment they begin to write and rewrite on / onto the space , they make it visible as space itself : the work is in part about the filling of space , for eventually , in prin- ciple , there would be only objects in ...
... ( figure 2 ) . From the moment they begin to write and rewrite on / onto the space , they make it visible as space itself : the work is in part about the filling of space , for eventually , in prin- ciple , there would be only objects in ...
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