Titlebook: Sensational Pleasures in Cinema, Literature and Visual Culture; The Phallic Eye Gilad Padva,Nurit Buchweitz (Senior Lecturer of Co Book 201

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老人病學(xué)

冰河期

The Haptic Eye: On Nan Goldin’s eum commissioned a personal installation from American photographer Nan Goldin.. For eight months the artist was free to wander alone in the Louvre and Orsay museums’ galleries during off- peak hours and encouraged to take a fresh look at the paintings and sculptures.

NICE

The Peepshow and the Voyeuse: Colette’s Challenge to the Male Gazea paying customer peered to discover scenes depicted through pictures or puppets, often accompanied by storytelling. In addi- tion to their evident entertainment values, peepshows also allowed spec- tators to learn about exotic cultures through scenes illustrating faraway and mysterious lands, such

Truculent

The Monstrous Non-heteronormative Formed by the Male Gazes the active one advancing the story, making things happen/’ she explains. “The man controls the film fantasy and also emerges as the representative of power in the a further sense” (20). Roderick A. Ferguson suggests “as it kept silent about sexuality and gender, historical material- ism, along wit

SPALL

Bearing Witness to the Unbearable: Ethics and the Phallic Gaze in e in the audience, over two hundred walked out, and over twenty are reported to have fainted or become physically ill.. A Cannes official attending the premiere stated that “I’ve never seen this at the Cannes festival. The scenes in this film are unbearable, even for us professionals.”. However, tho

Pamphlet

Transcendental Gazes: Pornographic Images of Transmasculinityormal analysis, although its proliferation is at the moment better charted by month rather than by year. The niche pioneered a decade ago by Buck Angel, the original FTM porn star, is burgeoning to encompass numerous other performers, including Dex Hardlove, Billy Castro and James Darling. Studios s

表皮

“Look Closer”: Sam Mendes’s Visions of White Mener.” This injunction is at the crux of the film and also the subsequent films about masculinity and the family made by director Sam Mendes: . (2008) and . (2009). In these films Mendes . the normal -white middle-class masculinity and the white heterosexual nuclear family — casting a detailed and del

羊欄

Between the Joy of the Woman Castrator and the Silence of the Woman Victim: Following the Exhibitionud defined the uncanny as “belonging to all that is terrible - to all that arouses dread and creeping horror.”. Amongst the complex of creeping and frightening things, Freud distinguishes a certain quality of the uncanny: “That class of the terrifying which leads back to some- thing long known to us

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