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Lawrence of Arabia
Author: David Lean
Year: 1962 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Lawrence of Arabia
Author: David LeanYear: 1962 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
The generic cultural consumption projected by these fragments is more dynamic and demands some association with narrative (itself now grasped in the wider sense of a type of textual consumption). In that sense, the scientific experiments are narratives fully as much as Lawrence of Arabia; the vision of white-collar workers and bureaucrats mounting flights of escalators is no less a narrative vision than the science fiction film clips (or horror music); even the still photograph of sheet lightning suggests a multiple set of narrative frames ( Ansel Adams, or the terror of the great storm, or the "logo" of the Remington-type western landscape, or the eighteenth century sublime, or the answer of God to the rainmaking ceremony, or the beginning of the end of the world).
The generic cultural consumption projected by these fragments is more dynamic and demands some association with narrative (itself now grasped in the wider sense of a type of textual consumption). In that sense, the scientific experiments are narratives fully as much as Lawrence of Arabia; the vision of white-collar workers and bureaucrats mounting flights of escalators is no less a narrative vision than the science fiction film clips (or horror music); even the still photograph of sheet lightning suggests a multiple set of narrative frames ( Ansel Adams, or the terror of the great storm, or the "logo" of the Remington-type western landscape, or the eighteenth century sublime, or the answer of God to the rainmaking ceremony, or the beginning of the end of the world).
Source type: pictureGrand Canyon National Park
Author: Anselm Adams
Year: 1941 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Grand Canyon National Park
Author: Anselm AdamsYear: 1941 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
The generic cultural consumption projected by these fragments is more dynamic and demands some association with narrative (itself now grasped in the wider sense of a type of textual consumption). In that sense, the scientific experiments are narratives fully as much as Lawrence of Arabia; the vision of white-collar workers and bureaucrats mounting flights of escalators is no less a narrative vision than the science fiction film clips (or horror music); even the still photograph of sheet lightning suggests a multiple set of narrative frames ( Ansel Adams, or the terror of the great storm, or the "logo" of the Remington-type western landscape, or the eighteenth century sublime, or the answer of God to the rainmaking ceremony, or the beginning of the end of the world).
The generic cultural consumption projected by these fragments is more dynamic and demands some association with narrative (itself now grasped in the wider sense of a type of textual consumption). In that sense, the scientific experiments are narratives fully as much as Lawrence of Arabia; the vision of white-collar workers and bureaucrats mounting flights of escalators is no less a narrative vision than the science fiction film clips (or horror music); even the still photograph of sheet lightning suggests a multiple set of narrative frames ( Ansel Adams, or the terror of the great storm, or the "logo" of the Remington-type western landscape, or the eighteenth century sublime, or the answer of God to the rainmaking ceremony, or the beginning of the end of the world).
Source type: pictureInfo: Legendary photographer Ansel Adams took iconic photos of Grand Canyon National Park in 1941
Original size: 998x759 px. Edit
The Trooper
Author: Frederic Remington
Year: 1892 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
The Trooper
Author: Frederic RemingtonYear: 1892 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
The generic cultural consumption projected by these fragments is more dynamic and demands some association with narrative (itself now grasped in the wider sense of a type of textual consumption). In that sense, the scientific experiments are narratives fully as much as Lawrence of Arabia; the vision of white-collar workers and bureaucrats mounting flights of escalators is no less a narrative vision than the science fiction film clips (or horror music); even the still photograph of sheet lightning suggests a multiple set of narrative frames ( Ansel Adams, or the terror of the great storm, or the "logo" of the Remington-type western landscape, or the eighteenth century sublime, or the answer of God to the rainmaking ceremony, or the beginning of the end of the world).
The generic cultural consumption projected by these fragments is more dynamic and demands some association with narrative (itself now grasped in the wider sense of a type of textual consumption). In that sense, the scientific experiments are narratives fully as much as Lawrence of Arabia; the vision of white-collar workers and bureaucrats mounting flights of escalators is no less a narrative vision than the science fiction film clips (or horror music); even the still photograph of sheet lightning suggests a multiple set of narrative frames ( Ansel Adams, or the terror of the great storm, or the "logo" of the Remington-type western landscape, or the eighteenth century sublime, or the answer of God to the rainmaking ceremony, or the beginning of the end of the world).
Source type: picture