Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 100
... become no different from what one might see with one's own eyes during a train journey , while waiting at a traffic light , or when concentrating on recalling a childhood memory . They reaffirm a certain quality of perception , a cer ...
... become no different from what one might see with one's own eyes during a train journey , while waiting at a traffic light , or when concentrating on recalling a childhood memory . They reaffirm a certain quality of perception , a cer ...
Side 28
... become dangerous.26 Myth can be both vitality and entropy , the first means of generating change and its fossilization . A feminist perspective should insist on the need to prolong the middle phase , that so easily becomes masked or ...
... become dangerous.26 Myth can be both vitality and entropy , the first means of generating change and its fossilization . A feminist perspective should insist on the need to prolong the middle phase , that so easily becomes masked or ...
Side 96
... become evident in the 1980s , however , is that such critical positions , whether explicity formulated in theoretical terms or implicitly present in a given practice , are themselves vul- nerable to an ideological charge : that of ...
... become evident in the 1980s , however , is that such critical positions , whether explicity formulated in theoretical terms or implicitly present in a given practice , are themselves vul- nerable to an ideological charge : that of ...
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