Discourse, Bind 32,Oplag 22010 |
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Side 153
Figure 1. The emergent figure . Matthew Barney , CREMASTER 3 ( 2002 ) . Production still © 2002 Matthew Barney . Photo by Chris Winget . Courtesy of Gladstone Gallery , New York City . being carried through an elaborate series of art ...
Figure 1. The emergent figure . Matthew Barney , CREMASTER 3 ( 2002 ) . Production still © 2002 Matthew Barney . Photo by Chris Winget . Courtesy of Gladstone Gallery , New York City . being carried through an elaborate series of art ...
Side 160
... Matthew Barney . This is presumably because these characters stand face to face , although this seems far from the standard shot - reverse shot composition to which we are accustomed : the camera , instead of assuming the direct look ...
... Matthew Barney . This is presumably because these characters stand face to face , although this seems far from the standard shot - reverse shot composition to which we are accustomed : the camera , instead of assuming the direct look ...
Side 166
... Matthew Barney's CREMASTER 2 ” ( Department of the History of Art , Bryn Mawr College , 2002 ) . 8 The formal similarities between Mannerist painting and Matthew Barney's characters , figures , and situations are striking - constrained ...
... Matthew Barney's CREMASTER 2 ” ( Department of the History of Art , Bryn Mawr College , 2002 ) . 8 The formal similarities between Mannerist painting and Matthew Barney's characters , figures , and situations are striking - constrained ...
Indhold
Womens Cinema and Contemporary Allegories of Violence | 170 |
Utopian Architecture | 186 |
Ethics Aesthetics and the Future in Alfonso Cuaróns Children | 212 |
Copyright | |
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aesthetic Alfonso Cuarón American Amores Perros argues Asian audiences Barney's Benthien body Brooks camera characters Children Children of Men contemporary context CREMASTER critical critique Cruz Cruz's Cuarón's cultural Deleuze Derrida digital art digital image Discourse dramatic dystopian Eliot's essay ethical experience figure film film's filmic Foucault Freud function Gary Gilmore Gilles Deleuze Giroux Gledhill global Hansen historical huella and Perfume human Ibid ideas identity Imagination internal limit Iwamura Kwai Chang Caine maître d Matthew Barney Mavor melo melodrama melodramatic mode Mexican Mexico modern moral mother narrative objects Oriental Monk Perfume de Violeta political postmodern problem produced Prosthetic Head queer quotation rape reality Reas representation Sade Sade's scene screen shots Silvano Sin dejar huella Slavoj Žižek social sociopolitical space specific spiritual Stelarc Stella Dallas suffering symbolic Theo theory tion touch trans Transgression University Press utopia viewer virtual virtue and evil visual Waste Land Yessica York