Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 17,Ausgabe 31995 |
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Seite 133
... camera . She speaks to someone ( presumably O'Rourke ) slightly off - camera , fre- quently ( and somewhat uncomfortably ) glancing at the camera lens itself . Noting that Western feminist scholars " often locate ' third world women ...
... camera . She speaks to someone ( presumably O'Rourke ) slightly off - camera , fre- quently ( and somewhat uncomfortably ) glancing at the camera lens itself . Noting that Western feminist scholars " often locate ' third world women ...
Seite 135
... camera are conscious of him . This dual reminder foregrounds the produced nature of what appears on camera ( that this scene is the product of position- ing , editing , selective filming , questioning , et cetera ) and at least suggests ...
... camera are conscious of him . This dual reminder foregrounds the produced nature of what appears on camera ( that this scene is the product of position- ing , editing , selective filming , questioning , et cetera ) and at least suggests ...
Seite 147
... camera , O'Rourke is seated on a bed behind Aoi with his arms around her , holding the camera at chest level in front of them both as they face the mirror . Both of their faces are plainly visible , as is the motel room in which they ...
... camera , O'Rourke is seated on a bed behind Aoi with his arms around her , holding the camera at chest level in front of them both as they face the mirror . Both of their faces are plainly visible , as is the motel room in which they ...
Inhalt
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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