Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Ausgabe 23Indiana University Press, 2001 |
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Seite 6
... look of the characters . It no longer is simply the point of view of nature , as in Jaws . Yet , ET's gaze only looks at the child protagonist , in a look exchange that opens and closes the film . That is , the monster's gaze is ...
... look of the characters . It no longer is simply the point of view of nature , as in Jaws . Yet , ET's gaze only looks at the child protagonist , in a look exchange that opens and closes the film . That is , the monster's gaze is ...
Seite 9
... looks out the window towards the crowd of free Jews he is leaving behind ; at that point he looks directly into the ... look simultaneously at the camera and , thus , at the spectator . However , as Schindler disappears so does the ...
... looks out the window towards the crowd of free Jews he is leaving behind ; at that point he looks directly into the ... look simultaneously at the camera and , thus , at the spectator . However , as Schindler disappears so does the ...
Seite 33
... look Polynesian ; Jorge Mistral again as Tarzan look - alike with oiled torso . There is no attempt to make them look remotely African , as if the fetishisation of their bodies required the highlighting of racial ambivalence ( " almost ...
... look Polynesian ; Jorge Mistral again as Tarzan look - alike with oiled torso . There is no attempt to make them look remotely African , as if the fetishisation of their bodies required the highlighting of racial ambivalence ( " almost ...
Inhalt
On the Digital and Allegorical Economy | 4 |
Colonial Ambivalence and | 25 |
World Music Does Not Exist | 44 |
Urheberrecht | |
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