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There tends to be a moment in the development of cultural practices when discourses of the recent past become history; they are no longer just outdated but, like bell-bottom jeans, mini-skirts and platform shoes, acquire historicity. This is what seems to have happened with film theory of the 1970s and early 1980s, particularly as it revolved around the notion of 'the spectator'. I am thinking ...
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ژورنال
عنوان ژورنال: E-Compós
سال: 2011
ISSN: 1808-2599
DOI: 10.30962/ec.v13i2.467