Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
Niðurstöður 1 - 3 af 29
Síða 157
... tion . It is barely settled into its current state and bound to change . This skin , then , might be a visual compliment to how film , as a medium , and as a signifier , works in CREMASTER 3 : the surface is , by turns , rent , visible ...
... tion . It is barely settled into its current state and bound to change . This skin , then , might be a visual compliment to how film , as a medium , and as a signifier , works in CREMASTER 3 : the surface is , by turns , rent , visible ...
Síða 175
... tion to viewers ' experience of the historical real . " In other words , whereas hyper - real violence refuses viewer identification , symbolic violence insists on it . While the aesthetic of hyper - real violence is recognizably part ...
... tion to viewers ' experience of the historical real . " In other words , whereas hyper - real violence refuses viewer identification , symbolic violence insists on it . While the aesthetic of hyper - real violence is recognizably part ...
Síða 205
... tion - the first , via Condillac and Schiller , that touching oneself leads to knowledge of the self ; the second , via Stelarc , that touch- ing oneself leads to expanded or fuller self - presence - we see that a vision of digital ...
... tion - the first , via Condillac and Schiller , that touching oneself leads to knowledge of the self ; the second , via Stelarc , that touch- ing oneself leads to expanded or fuller self - presence - we see that a vision of digital ...
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