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Side 71
Clay and Vincent boast not only highly contrastive skin ( marked visually by McGehee and Siegel's black and white film ... Only the audience is free from this blindness , propelled into a hyper - awareness of the visual as an insistent ...
Clay and Vincent boast not only highly contrastive skin ( marked visually by McGehee and Siegel's black and white film ... Only the audience is free from this blindness , propelled into a hyper - awareness of the visual as an insistent ...
Side 13
It thereby suggests again that one of the languages in which the body is " written ” is visual . But " visual " is a large and amorphous category , which would seem to require further qualification . This sequence provides the necessary ...
It thereby suggests again that one of the languages in which the body is " written ” is visual . But " visual " is a large and amorphous category , which would seem to require further qualification . This sequence provides the necessary ...
Side 44
... I interpret the final image of tearing the photograph not as a cynical gesture about visual production as a whole , but as Anna's rejection of the illusions about visual mastery which have plagued her , and for which the ...
... I interpret the final image of tearing the photograph not as a cynical gesture about visual production as a whole , but as Anna's rejection of the illusions about visual mastery which have plagued her , and for which the ...
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Indhold
Collective Memory Credibility Structures and the Case | 31 |
Greg Louganis and | 53 |
Problems for a Colorblind | 70 |
Copyright | |
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action AIDS American appear artists becomes beginning body Brawley Brawley's called camera century cinema claims Clay colonial Commandment concept continues critical Cuban cultural desire discourse discussion dream effect English essay example experience Export fact female figure film hand host Hughes human idea identity immigrant issues Jewish kind King Kong language Latin literature living look Love means memory Michigan movement narrative notes object original parasite past performance photographic political position possible postcolonial Practice present Press production provides question race racial reason relation relationship representation represents scene Second seems seen sense sequence sexual shot side social space Spanish speak story Studies suggests suture theory thing thought tion touch translation turn understand United University visual voice woman writes York