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Seite 56
Veza Canetti— Between Fact and Fiction Elfriede Czurda One day , as Runkel was being pushed across the street in her baby carriage , she was overcome by such despair over her wretched life that she wanted nothing more than for a heavy ...
Veza Canetti— Between Fact and Fiction Elfriede Czurda One day , as Runkel was being pushed across the street in her baby carriage , she was overcome by such despair over her wretched life that she wanted nothing more than for a heavy ...
Seite 75
The commonality of struggle is delineated in African cinema by the fact that male and female representation is not necessarily reflected through binary oppositions between the sexes . As Davies observes , African feminism " is not ...
The commonality of struggle is delineated in African cinema by the fact that male and female representation is not necessarily reflected through binary oppositions between the sexes . As Davies observes , African feminism " is not ...
Seite 101
( 123-4 ) While the explanation of how " his body knew " is obscure here , the fact that corporeal action saves Finsterlicht is consonant with the troubled and incoherent place of matter in the intimacy between body and machine .
( 123-4 ) While the explanation of how " his body knew " is obscure here , the fact that corporeal action saves Finsterlicht is consonant with the troubled and incoherent place of matter in the intimacy between body and machine .
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Inhalt
The Power of the Image | 20 |
The Preface of a Spouse | 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 connection 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