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Seite 63
Most apparent in this instance , and perhaps most important , is the construction of the characters ' looks . For despite the emphasis psychoanalytic film theory places on the powerful look , the look that captures and inscribes its ...
Most apparent in this instance , and perhaps most important , is the construction of the characters ' looks . For despite the emphasis psychoanalytic film theory places on the powerful look , the look that captures and inscribes its ...
Seite 66
Though it is she who looks , Mitch is hidden in the car that takes Melanie's look with it , while she is the one who is ... Within the order of the look , Mitch has the power of the camera to both capture and freeze what he sees , while ...
Though it is she who looks , Mitch is hidden in the car that takes Melanie's look with it , while she is the one who is ... Within the order of the look , Mitch has the power of the camera to both capture and freeze what he sees , while ...
Seite 68
The punishment for her desire , a desire that the powerful look signifies , is the impair- ment of that look to the point of " filling " it with the mark of that injury . As long as Mitch is hidden from her sight or directs her vision ...
The punishment for her desire , a desire that the powerful look signifies , is the impair- ment of that look to the point of " filling " it with the mark of that injury . As long as Mitch is hidden from her sight or directs her vision ...
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Inhalt
BERKELEY JOURNAL FOR THEORETICAL STUDIES IN MEDIA AND CULTURE | 7 |
The Order of Cinematographic Discourse | 39 |
Jürgen Habermas and | 59 |
Urheberrecht | |
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