Koop 10 boeken voor 10 € hier!
Bookbot

Ahmed Elbeshlawy

    Woman in Lars von Trier’s Cinema, 1996–2014
    Sahara
    Unappeasable Ghosts
    Savage Charm
    • Savage Charm

      • 138bladzijden
      • 5 uur lezen
      5,0(2)Tarief

      SAVAGE CHARM is autobiographical at its core, but also unsentimental, unapologetic, and rigorous in its exploration of such related concepts as self-knowledge, fictional identity, the city, the writing of exile, belief, religion, and the modern subject. The poet brings his distinctive voice to cosmopolitan Hong Kong's English poetic scene with this volume which records his personal experience of the city in the subtlest of ways. Though deeply personal, the poems have a gutsy impersonal touch and a distinctive social tinge. Savage charm is both poetic and philosophical

      Savage Charm
    • Unappeasable Ghosts

      • 108bladzijden
      • 4 uur lezen
      5,0(1)Tarief

      Impeccably constructed poems explore a rich tapestry of feelings and thoughts, inviting readers to reflect deeply. The collection captures the ephemeral essence of Hong Kong with masterful detail, creating a vivid sense of place and emotion.

      Unappeasable Ghosts
    • Sahara

      • 120bladzijden
      • 5 uur lezen

      Exploring themes of love, sexuality, womanhood, religion, and identity, this poetry collection intertwines personal and social narratives. Set against the vibrant backdrops of Hong Kong and Egypt, it blends various disciplines, merging reality with fantasy and art with life. The poems reflect a deep passion while navigating complex ideas, from philosophy to psychoanalysis, capturing the contrast between urban sophistication and the desert's beauty.

      Sahara
    • This book discusses the figure of Woman in Lars von Trier’s distinctive cinematic productions from 1996 to 2014. It takes the notorious legacy of violence against women in von Trier’s cinema beyond the perceived gender division, elevating the director’s image above being a mere provocateur. By raising fundamental questions about woman, sexuality, and desire, Elbeshlawy shows that Trier’s cinematic Woman is an attempt at creating an image of a genderless subject that is not inhibited by the confines of ideology and culture. But this attempt is perennially ill-fated. And it is this failure that not only fosters viewing enjoyment but also gives the films their political importance, elevating them above both commendations and condemnations of feminist discourse.

      Woman in Lars von Trier’s Cinema, 1996–2014