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Seite 47
She is the one who transgresses gender coding in service to the state to take over the traditional hero's position . Because she is the handmaiden to the Socialist Realist utopia , her gender transgression is positively coded as gender ...
She is the one who transgresses gender coding in service to the state to take over the traditional hero's position . Because she is the handmaiden to the Socialist Realist utopia , her gender transgression is positively coded as gender ...
Seite 103
Watching them , contemporary audiences are placed in the position of revolutionaries — not placed by the films themselves , of course , but by the historical circumstances of retrospective consideration . We know what the filmmakers ...
Watching them , contemporary audiences are placed in the position of revolutionaries — not placed by the films themselves , of course , but by the historical circumstances of retrospective consideration . We know what the filmmakers ...
Seite 130
II O'Rourke uses the opening narrative quoted above to position himself and locate his point of view . It seems intended to undermine all expectations of objectivity and distance , saying in effect , " WARNING : the filmmaker is ...
II O'Rourke uses the opening narrative quoted above to position himself and locate his point of view . It seems intended to undermine all expectations of objectivity and distance , saying in effect , " WARNING : the filmmaker is ...
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Inhalt
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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Bibliografische Informationen
| Titel | Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 17,Ausgabe 3 |
| Mitwirkende | Project Muse, JSTOR (Organization), University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Veröffentlicht | 1995 |
| Original von | University of Michigan |
| Digitalisiert | 25. Apr. 2008 |
| Zitat exportieren | BiBTeX EndNote RefMan |