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Seite 147
Mignon can only be " seen " by Esther , the African - American singer , who says , “ I pretend it's me up there . Do you pretend when you're with them ? Don't worry , they can't tell like we can . ” When Mignon is talking to her mother ...
Mignon can only be " seen " by Esther , the African - American singer , who says , “ I pretend it's me up there . Do you pretend when you're with them ? Don't worry , they can't tell like we can . ” When Mignon is talking to her mother ...
Seite 151
As she says , “ I was drawing on what I had experienced watching films by Spencer Williams , films from the 1930s , like The Blood of Jesus and Go Down Death ” ( DBh 28 ) . In an interview with Zeinabu irene Davis , also a wonderful ...
As she says , “ I was drawing on what I had experienced watching films by Spencer Williams , films from the 1930s , like The Blood of Jesus and Go Down Death ” ( DBh 28 ) . In an interview with Zeinabu irene Davis , also a wonderful ...
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