| Constance Penley - 1988 - 284 Seiten
...(Dietrich, for instance) or a face (Garbo) integrate into the narrative a different mode of eroticism. One part of a fragmented body destroys the Renaissance...or icon rather than verisimilitude to the screen. B. An active/passive heterosexual division of labor has similarly controlled narrative structure. According... | |
| Patricia Erens - 1990 - 492 Seiten
...(Dietrich, for instance) or a face (Garbo) integrate into the narrative a different mode of eroticism. One part of a fragmented body destroys the Renaissance...or icon rather than verisimilitude to the screen. B. An active/passive heterosexual division of labor has similarly controlled narrative structure. According... | |
| Maggie Humm - 1992 - 444 Seiten
...(Dietrich, for instance) or a face (Garbo) integrate into the narrative a different mode of eroticism. One part of a fragmented body destroys the Renaissance...or icon rather than verisimilitude to the screen. B. An active/passive heterosexual division of labour has similarly controlled narrative structure.... | |
| Jennifer Bloomer - 1992 - 402 Seiten
...is a viewing mechanism that produces the subject. It precedes and frames its occupant" (p. 8). i3i "One part of a fragmented body destroys the Renaissance...of a cut-out or icon, rather than verisimilitude, io the sereen ... In contrast to the woman as icon, the active male figure (the ego idcal of the identification... | |
| Kaja Silverman - 1996 - 272 Seiten
...takes the spectator into what Mulvey calls "a no man's land outside its own time and space," and gives "the quality of a cut-out or icon, rather than verisimilitude, to the screen"(20). Of course, given its larger preoccupation with female specularity, and, most particularly,... | |
| Robyn R. Warhol, Diane Price Herndl - 1997 - 1238 Seiten
...(Dietrich, for instance) or a face (Garbo) integrate into the narrative a different mode of eroticism. One part of a fragmented body destroys the Renaissance...or icon, rather than verisimilitude, to the screen. B An active/passive heterosexual division of labour has similarly controlled narrative structure. According... | |
| Judith P. Hallett, Marilyn B. Skinner - 1997 - 358 Seiten
...development of a storyline, to freeze the flow of action in moments of erotic contemplation. . . . One part of a fragmented body destroys the Renaissance...cut-out or icon, rather than verisimilitude, to the screen.7 Mulvey's analysis is apposite to elegy's fascination and its suspicion. Each pose constructs... | |
| Pamela L. Moore - 1997 - 284 Seiten
...that women are particularly subject to the cinematic close-up, to a fragmentation of the body that "gives flatness, the quality of a cut-out or icon, rather than verisimilitude, to the screen" (in Mulvey 1989, 14). The representation of the fragmented woman comes to stand in for the "real" woman.... | |
| Lizbeth Goodman, Jane De Gay - 1998 - 364 Seiten
...(Dietrich, for instance) or a face (Garbo) integrate into the narrative a different mode of eroticism. One part of a fragmented body destroys the Renaissance...or icon rather than verisimilitude to the screen. B. An active/passive heterosexual division of labour has similarly controlled narrative structure.... | |
| Laura Hinton - 1999 - 304 Seiten
...partners," as well as other "lovely parts," integrate into the narrative a different mode of eroticism. One part of a fragmented body destroys the Renaissance...or icon rather than verisimilitude to the screen. (Mulvey 12) Clarissa's body becomes a visual spectacle. Meanwhile, Lovelace's "pen" acts as narrative... | |
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