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Seite 64
The death desired for Runkel by the narrator of Yellow Street is no less than a four - fold one , indeed , a four times fourfold one : a truck , a cattle truck , a steamroller , and a streetcar with four compartments , that is ...
The death desired for Runkel by the narrator of Yellow Street is no less than a four - fold one , indeed , a four times fourfold one : a truck , a cattle truck , a steamroller , and a streetcar with four compartments , that is ...
Seite 66
a now , have to say with , leave it behind you ( instead of : defer it ] , ” as a metaphor for plunging into the abyss in order to turn it into an economy , a saving , which organizes itself “ as a resistance against death , against ...
a now , have to say with , leave it behind you ( instead of : defer it ] , ” as a metaphor for plunging into the abyss in order to turn it into an economy , a saving , which organizes itself “ as a resistance against death , against ...
Seite 100
If death hunts Finsterlicht , it is a particular death : one figured as the obsolescence or displacement of a particular form of embodiment rather than of subjectivity and its appropriation of some kind of material site as support or ...
If death hunts Finsterlicht , it is a particular death : one figured as the obsolescence or displacement of a particular form of embodiment rather than of subjectivity and its appropriation of some kind of material site as support or ...
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Inhalt
The Power of the Image | 20 |
Reinhilde Wiegmann | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
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action aesthetic African already appears artist attempt Avengers become begins body called camp Canetti characters cinema computational constitutes construction contemporary continued corporeal create critical critique cultural death desire difference direct discourse distinction effects Elias Emma escape example expression fact fantasies female feminine feminism feminist figure film Finsterlicht's forced Foreword function gender German gives historical identity issues Kino International Leni Riefenstahl living look machine male masculine materiality matter meaning narrative Nazi never Notes object offers performance physical play political position possible practices present production propaganda prostitute question reading relation remain representation response returns Riefenstahl roles sexual shame signifier signs situation social society space specific story Street structure struggle suggests takes television thing traditional Veza voice Western woman women writes York