Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
Niðurstöður 1 - 3 af 22
Síða 163
... say that in the filmic scenario one thing is projected on top of another thing ; when , as in CREMASTER 3 , this is made explicit by the film itself , medium may register on the level of the idea . Then , if we return to our previously ...
... say that in the filmic scenario one thing is projected on top of another thing ; when , as in CREMASTER 3 , this is made explicit by the film itself , medium may register on the level of the idea . Then , if we return to our previously ...
Síða 190
... says , " the product of complex architectural laws . ” 28 Sade's formalism and his social mes- sage correspond : he advocates physical freedom , particularly the liberty to do violence with equality to fraternity , and so redefines the ...
... says , " the product of complex architectural laws . ” 28 Sade's formalism and his social mes- sage correspond : he advocates physical freedom , particularly the liberty to do violence with equality to fraternity , and so redefines the ...
Síða 193
... says that Ernst usually just throws the reel away , so that it remains up to him to say that the return of the reel forms what he calls the completed game . Freud's interpretation , for Derrida , shores up his own role as the ...
... says that Ernst usually just throws the reel away , so that it remains up to him to say that the return of the reel forms what he calls the completed game . Freud's interpretation , for Derrida , shores up his own role as 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