Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 84
... Algiers as a Hollywoodean Z - type exercise in political melo- drama . Such critiques run the dangers of being 1 ) a - historical ( we must situate the film in the con- text of 1966 ) ; 2 ) politically counter - productive ( the Left ...
... Algiers as a Hollywoodean Z - type exercise in political melo- drama . Such critiques run the dangers of being 1 ) a - historical ( we must situate the film in the con- text of 1966 ) ; 2 ) politically counter - productive ( the Left ...
Side 39
... Algiers for a short stopover . He had just spent a month in Morocco , immersed in an atmosphere of extraordinary visual richness ( sumptuous costumes , frenzied displays of horsemanship , the opulence of a royal court , picturesque ...
... Algiers for a short stopover . He had just spent a month in Morocco , immersed in an atmosphere of extraordinary visual richness ( sumptuous costumes , frenzied displays of horsemanship , the opulence of a royal court , picturesque ...
Side 42
... Algiers . The composition is very nearly identical , but several changes make the latent meaning of the picture appear more clearly through recurrence . In this second version , in which the features of the figures are less clearly ...
... Algiers . The composition is very nearly identical , but several changes make the latent meaning of the picture appear more clearly through recurrence . In this second version , in which the features of the figures are less clearly ...
Indhold
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Copyright | |
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Achternbusch Alexander Kluge Anastasia avant-garde become body Buenos Aires Cahiers du cinéma camera character cinema concept context contradiction critical critique cultural cybernetic cyborg desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation essay example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Germany in Autumn Godard Helke Sander Herbert Achternbusch human identity ideological imaginary India Cabaret Ivan Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor mode montage movement narrative narrator notion nuclear Oedipal opposition political position postmodern precisely present produce question relation relationship representation represented Sander scene sense sequence sexual difference shot signifier social space speak spectator speech story structure Subjective Factor symbolic tango theoretical tion tive traditional trans viewer visual voice whole woman women word writing