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Seite 71
Clay and Vincent boast not only highly contrastive skin ( marked visually by McGehee and Siegel's black and white film , wardrobe , and sets ) , but also noticeably different facial features . Despite this , Vincent and Clay agree that ...
Clay and Vincent boast not only highly contrastive skin ( marked visually by McGehee and Siegel's black and white film , wardrobe , and sets ) , but also noticeably different facial features . Despite this , Vincent and Clay agree that ...
Seite 74
He is also physically sutured , in medical terms , his face bears patterns of stitches that will serve to reshape his visage into that of Vincent Towers . While the film never reflects anything but Haysbert's face in Clay Arlington's ...
He is also physically sutured , in medical terms , his face bears patterns of stitches that will serve to reshape his visage into that of Vincent Towers . While the film never reflects anything but Haysbert's face in Clay Arlington's ...
Seite 84
As the object of social treatment , Clay has been both degraded and lifted up , and now cleared by the police investigation and free from his potential unmasking by Vincent , he chooses to remain — are we surprised ?
As the object of social treatment , Clay has been both degraded and lifted up , and now cleared by the police investigation and free from his potential unmasking by Vincent , he chooses to remain — are we surprised ?
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Inhalt
Table of Contents | 3 |
Collective Memory Credibility Structures and the Case | 31 |
Greg Louganis and | 53 |
Urheberrecht | |
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