9781350411166 - soviet spectatorship: observing the body in physical and visual culture di goff, samuel (19 risultati)
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Hardback. Condizione: New. What distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? Soviet Spectatorship answers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the Civil War to…the eve of the Second World War. Samuel Goff identifies the three fundamental 'structures of looking' - surveillance, aesthetics, and spectatorship - that shaped representations of the embodied Soviet subject. Close readings of understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935) and A Strict Young Man (1936), are contextualised through a theoretical analysis of the relationship between subjectivity and the body. In doing so, Goff traces the evolution of a specific Soviet 'look', examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture.
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Hardcover. Condizione: new. Hardcover. What distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? Soviet Spectatorship answers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the C…ivil War to the eve of the Second World War. Samuel Goff identifies the three fundamental structures of looking surveillance, aesthetics, and spectatorship that shaped representations of the embodied Soviet subject. Close readings of understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935) and A Strict Young Man (1936), are contextualised through a theoretical analysis of the relationship between subjectivity and the body. In doing so, Goff traces the evolution of a specific Soviet 'look', examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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Hardcover. Condizione: Brand New. 272 pages. 8.50x5.43x1.00 inches. In Stock.
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Hardcover. Condizione: new. Hardcover. What distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? Soviet Spectatorship answers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the C…ivil War to the eve of the Second World War. Samuel Goff identifies the three fundamental structures of looking surveillance, aesthetics, and spectatorship that shaped representations of the embodied Soviet subject. Close readings of understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935) and A Strict Young Man (1936), are contextualised through a theoretical analysis of the relationship between subjectivity and the body. In doing so, Goff traces the evolution of a specific Soviet 'look', examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
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Hardback. Condizione: New. What distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? Soviet Spectatorship answers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the Civil War to…the eve of the Second World War. Samuel Goff identifies the three fundamental 'structures of looking' - surveillance, aesthetics, and spectatorship - that shaped representations of the embodied Soviet subject. Close readings of understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935) and A Strict Young Man (1936), are contextualised through a theoretical analysis of the relationship between subjectivity and the body. In doing so, Goff traces the evolution of a specific Soviet 'look', examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture.
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Hardcover. Condizione: new. Hardcover. What distinguished the Soviet 'look'? How did Soviet thinkers and artists reimagine the relationship between observer and observed? Soviet Spectatorship answers these questions through an in depth exploration of Soviet physical culture and its on screen representations from the end of the C…ivil War to the eve of the Second World War. Samuel Goff identifies the three fundamental structures of looking surveillance, aesthetics, and spectatorship that shaped representations of the embodied Soviet subject. Close readings of understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935) and A Strict Young Man (1936), are contextualised through a theoretical analysis of the relationship between subjectivity and the body. In doing so, Goff traces the evolution of a specific Soviet 'look', examining perspectives on Soviet aesthetics and theories of body and mind, uncovering continuities within Soviet visual cultures in a period usually understood in terms of discontinuity and rupture. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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Buch. Condizione: Neu. Neuware - 'Soviet Spectatorship provides an depth exploration of Soviet physical culture and its on screen representations from the end of the Civil War to the eve of the Second World War. Samuel Goff analyses understudied films such as Happy Finish (1934), The Laurels of Miss Ellen Gray (1935) and A Stric…t Young Man (1936), identifying the three fundamental 'structures of looking' - surveillance, aesthetics, and spectatorship - that shaped representations of the embodied Soviet subject'--.
