Please use this identifier to cite or link to this item: http://hdl.handle.net/123456789/6417
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dc.contributor.authorCoker, Wincharles-
dc.date.accessioned2021-11-10T11:18:07Z-
dc.date.available2021-11-10T11:18:07Z-
dc.date.issued2014-
dc.identifier.issn23105496-
dc.identifier.urihttp://hdl.handle.net/123456789/6417-
dc.description5p:, ill.en_US
dc.description.abstractThis paper offers an alternative oppositional reading against the obvious, dominant taken-for-granted codes of scopophilia by which Aaron Siskind’s “Harlem” photograph is interpreted. The paper draws primarily on the works of French thinkers Roland Barthes and Jean Baudrillard to make the case that the nudity of the Black woman evokes a false sexual pathos and heigthens the fetishization of her bodyen_US
dc.language.isoenen_US
dc.publisherUniversity of Cape Coasten_US
dc.subjectBodyen_US
dc.subjectCodeen_US
dc.subjectFetishen_US
dc.subjectNudityen_US
dc.subjectScopophiliaen_US
dc.titleWhen a woman is nude : A critical visual analysis of “Harlem” photographen_US
dc.typeArticleen_US
Appears in Collections:Department of Communication Studies

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