This study challenges paradigms of female representation in enigmatic Renaissance masterpieces. Using female agency as a unifying lens, it interrogates why paintings of figures like Venus and the Madonna were crafted, by whom, and for whom, disrupting long-held assumptions.
This book explores hypermodern documentary discourse through audiovisual analysis. Drawing on philosopher Gilles Lipovetsky, it provides a new understanding of the theoretical and aesthetic qualities of hypermodern documentaries within film and media studies.