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Seite 128
The films , videos , and photographs of Tracey Moffatt ( Australia ) and the films of Julie Dash ( US ) recover history through fiction . For Moffatt , the historical truth of Nice Colored Girls ( 1987 ) is the exploitation of ...
The films , videos , and photographs of Tracey Moffatt ( Australia ) and the films of Julie Dash ( US ) recover history through fiction . For Moffatt , the historical truth of Nice Colored Girls ( 1987 ) is the exploitation of ...
Seite 151
Dash later asks , “ Where have you ever seen a Native American win in the end and ride off in glory ? When have you ever seen an African American woman riding off into the sunset for love ? " ( DBh 49 ) . For Dash , like Moffatt ...
Dash later asks , “ Where have you ever seen a Native American win in the end and ride off in glory ? When have you ever seen an African American woman riding off into the sunset for love ? " ( DBh 49 ) . For Dash , like Moffatt ...
Seite 152
a indigo stain would not have remained on their hands , Dash says , " I was using this as a symbol of slavery , to create a new kind of icon around slavery rather than the traditional showing of the whip marks or the chains ” ( DBh 31 ) ...
a indigo stain would not have remained on their hands , Dash says , " I was using this as a symbol of slavery , to create a new kind of icon around slavery rather than the traditional showing of the whip marks or the chains ” ( DBh 31 ) ...
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The Spaces of Sexuality | 3 |
DISCOURSE 16 | 16 |
Morris Sydney Laura Mulvey London Patrice Petro UWM Mary | 25 |
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Aboriginal aesthetic American analysis appears argues artist attempt become blur body boredom bourgeois calls camera century cinema claim construction contemporary Cries critical culture Dash Daughters Deleuze desire difference discourse drawing Duchenne effect emotions essay evidence example existence experience expression face facial fantasy female feminine feminist figure film gaze girl give hand human kind labor lack living logic look male meaning medical photography memory Moffatt mother movement narrative nature Night object painting Paris particular past photographs picture politics pose position possibility postmodern present production question refers relation remake representation represented response reveals says seems sense sexual Sherman shock signs social space speak specific story Studies suggests takes theory thing thinking thought tion Trans truth turn vision visual woman women writing York