Im Buch
Ergebnisse 1-3 von 75
Seite 72
How an African Woman Can Be " : African Women Filmmakers Construct Women Sheila J. Petty Women directors have been active in the sub - Saharan African film industry since 1963 , when journalist Thérèse Sita Bella of Cameroon produced ...
How an African Woman Can Be " : African Women Filmmakers Construct Women Sheila J. Petty Women directors have been active in the sub - Saharan African film industry since 1963 , when journalist Thérèse Sita Bella of Cameroon produced ...
Seite 86
According to Davies , African feminism recognizes that “ African societies are ancient societies , so logically , African women must have addressed the problems of women's position in society historically . In this regard there already ...
According to Davies , African feminism recognizes that “ African societies are ancient societies , so logically , African women must have addressed the problems of women's position in society historically . In this regard there already ...
Seite 118
Steed and Emma's relationship suggested that women , too , could be sexually independent , and offered a new take on the image of the " swinging single " which , in the spy series , had been confined solely to men .
Steed and Emma's relationship suggested that women , too , could be sexually independent , and offered a new take on the image of the " swinging single " which , in the spy series , had been confined solely to men .
Was andere dazu sagen - Rezension schreiben
Es wurden keine Rezensionen gefunden.
Inhalt
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
5 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
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