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Seite 294
Paradoxically , though , this melding together of texts is also , in its utterly defensive and withdrawn posture of pure finitude , an opening to the future through the command to transmit this posture , to save books .
Paradoxically , though , this melding together of texts is also , in its utterly defensive and withdrawn posture of pure finitude , an opening to the future through the command to transmit this posture , to save books .
Seite 312
The crowd is appeased ( though clearly there will be no consequence for the riot police who had delivered such a severe beating right in front of everyone ) , and Mace and Lenny are free to share a kiss that seals the future of ...
The crowd is appeased ( though clearly there will be no consequence for the riot police who had delivered such a severe beating right in front of everyone ) , and Mace and Lenny are free to share a kiss that seals the future of ...
Seite 318
25 And although this film is now past , its implicit directive to remember the future seems a useful reminder for the production of political cinema , particularly in the light of the increased narrative focus on the relationship ...
25 And although this film is now past , its implicit directive to remember the future seems a useful reminder for the production of political cinema , particularly in the light of the increased narrative focus on the relationship ...
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Inhalt
Toward a New Ontology of Trauma | 285 |
Strange Days Indeed | 302 |
Cronenbergs Recent Men and Women | 321 |
Urheberrecht | |
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action actual affect archive argues becomes body Brown castration Challenge character cinema clear colonial concept condition connection Cronenberg culture define Deleuze desire Discourse essay existence experience exposed exposure face fact Fall figure film film's final force forms French functions future grotesque History human individual Islam issue killed kind King language Lenny logic look Mace machine Marcuse meaning memory Michigan murder Nancy narrative natural Nikolai normal object photography played police political position possibility present problem production question racial recent recording reference relation relationship representation repressed scene seems sense sexual shared simply singular social space SQUID Strange Days structural suggest surveillance symbolic things tion Tradition trauma truth turn understand University Press violence wants woman Writing