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Seite 133
As Moffatt says : “ My work may feature brown faces but it could be anybody's story . ” She wants to be taken as an artist , not an Aboriginal artist . “ Yes I am Aboriginal , but I have the right to be avant - garde like any white ...
As Moffatt says : “ My work may feature brown faces but it could be anybody's story . ” She wants to be taken as an artist , not an Aboriginal artist . “ Yes I am Aboriginal , but I have the right to be avant - garde like any white ...
Seite 135
Moffatt undercuts and remakes colonial history through an intellectual , vertical montage . Sounds of water are cut into Sydney streets ; the historical , the indigenous , is always there . The point of view of teenage Aboriginal girls ...
Moffatt undercuts and remakes colonial history through an intellectual , vertical montage . Sounds of water are cut into Sydney streets ; the historical , the indigenous , is always there . The point of view of teenage Aboriginal girls ...
Seite 142
For Langton , Night Cries “ can be read as an autobiographical exploration of Moffatt's relationship with her own foster mother . The film asks questions about the role of ' mother ' in adoptive mother / daughter relationships ” ( 46 ) ...
For Langton , Night Cries “ can be read as an autobiographical exploration of Moffatt's relationship with her own foster mother . The film asks questions about the role of ' mother ' in adoptive mother / daughter relationships ” ( 46 ) ...
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Inhalt
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