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Seite 5
And as there is no real difference between the representation of Mao in the foreground and the one contained in the vignette , the look of the spectator is essentially inscribed within the painting and returned to him through the gaze ...
And as there is no real difference between the representation of Mao in the foreground and the one contained in the vignette , the look of the spectator is essentially inscribed within the painting and returned to him through the gaze ...
Seite 18
An Interview with Bob Yarber by Hilary Radner Hilary Radner : You work within traditional narrative and representation modes yet you defy the interpretational moves which are part of this tradition . How would you characterize this ...
An Interview with Bob Yarber by Hilary Radner Hilary Radner : You work within traditional narrative and representation modes yet you defy the interpretational moves which are part of this tradition . How would you characterize this ...
Seite 76
For Schroeter the center of this representation becomes the intersecting point of beauty and pain , domination and servitude : Magdalena , the domatrice , being the force that binds the suffering and servility of Ilse and the musical ...
For Schroeter the center of this representation becomes the intersecting point of beauty and pain , domination and servitude : Magdalena , the domatrice , being the force that binds the suffering and servility of Ilse and the musical ...
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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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