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Seite 71
Only the audience is free from this blindness , propelled into a hyper - awareness of the visual as an insistent sign of identity . Viewers are tensionally pinned between the film's visual insistence on Clay's skin and its conceptual ...
Only the audience is free from this blindness , propelled into a hyper - awareness of the visual as an insistent sign of identity . Viewers are tensionally pinned between the film's visual insistence on Clay's skin and its conceptual ...
Seite 13
It thereby suggests again that one of the languages in which the body is " written " is visual . But “ visual ” is a large and amor- phous category , which would seem to require further qualification . This sequence provides the ...
It thereby suggests again that one of the languages in which the body is " written " is visual . But “ visual ” is a large and amor- phous category , which would seem to require further qualification . This sequence provides the ...
Seite 44
Considered in this context , I interpret the final image of tearing the photograph not as a cynical gesture about visual produc- tion as a whole , but as Anna's rejection of the illusions about visual mastery which have plagued her ...
Considered in this context , I interpret the final image of tearing the photograph not as a cynical gesture about visual produc- tion as a whole , but as Anna's rejection of the illusions about visual mastery which have plagued her ...
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Inhalt
Collective Memory Credibility Structures and the Case | 31 |
Greg Louganis and | 53 |
Problems for a Colorblind | 70 |
Urheberrecht | |
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action AIDS American appear artists becomes beginning body Brawley Brawley's called camera century cinema claims Clay colonial Commandment concept continues critical Cuban cultural desire discourse discussion dream effect English essay example experience Export fact female figure film Guillén hand host Hughes human idea identity immigrant issues Jewish kind King Kong language Latin literature living look means memory Michigan movement narrative notes object once original parasite past performance photographic political position possible postcolonial Practice present Press production provides question race racial reason relation relationship represent representation scene Second seems seen sense sequence sexual shot side social space Spanish story Studies suggests suture theory things thought tion touch translation turn understand University visual voice woman writes York