Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 17,Ausgabe 31995 |
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Seite 127
... O'Rourke's aggressive publiciz- ing thereof ) , and in part to his declaring the film , both in the opening credits and in interviews , as a " documentary fiction . " That O'Rourke would insist on such a seemingly oxymoronic label for ...
... O'Rourke's aggressive publiciz- ing thereof ) , and in part to his declaring the film , both in the opening credits and in interviews , as a " documentary fiction . " That O'Rourke would insist on such a seemingly oxymoronic label for ...
Seite 131
... O'Rourke's economic relationship with Aoi , there is , in fact , no difference between him and those 5,000 other men . As Cynthia Enloe and others have pointed out , the Thai prostitution industry is in large part financed by these men ...
... O'Rourke's economic relationship with Aoi , there is , in fact , no difference between him and those 5,000 other men . As Cynthia Enloe and others have pointed out , the Thai prostitution industry is in large part financed by these men ...
Seite 135
... O'Rourke's presence may be actively shaping the content of the scene . Their subsequent conversation about the bars similarly implicates O'Rourke as an active participant . Whether or not the aunt knows that O'Rourke met Aoi in just ...
... O'Rourke's presence may be actively shaping the content of the scene . Their subsequent conversation about the bars similarly implicates O'Rourke as an active participant . Whether or not the aunt knows that O'Rourke met Aoi in just ...
Inhalt
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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