. Atget photographs empty Parisian streets and gives them, according to Benjamin, the look of crime scenes: “The scene of a crime, too, is deserted; it is photographed for the purpose of establishing evidence. With Atget, photographs become standard
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Bodies with Objects in Space through Screens
Casual Virtuality and the Self-Mediation of Laura Paolini's Constraining Aesthetics
Jakub Zdebik
Steven Eastwood
-life contextual-gaze experience. We see a person looking and we deduce to who or what the look is directed. Sometimes we mistakenly react to a person as though they are looking at us when in fact they are not. Similarly, probability but not certainty of shot
Los Roldán and the Inclusion of Travesti Narratives
Representations of Gender-Nonconforming Identities in Argentinian Telenovelas
Martín Ponti
makeup and clothing as incompatible with the look of the company, which is a cosmetics company. These distinctions are evident from the interview between Laisa and her brother's personal assistant throughout part of the eighth episode. Figure 3
Andrew J. Webber
otherwise by her performances in casting. However, the look of the lead character helps to attach to the film the uncomfortable label of “beautiful,” as in the critical endorsement on the cover of the DVD: “A beautiful survival story, set against the dying