Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 50
... cinema must not be forgotten [ ... ] . They define the concept of montage as the indispensable language , charged with meaning , and the only possible one for cinema , offering a perfect parallelism with the role of the word in verbal ...
... cinema must not be forgotten [ ... ] . They define the concept of montage as the indispensable language , charged with meaning , and the only possible one for cinema , offering a perfect parallelism with the role of the word in verbal ...
Side 4
... cinema's formal and ideological " pro- gram , " claiming for itself the status of a " counter cinema . " Film theory also adopted an increasingly critical attitude toward popular cinema , frequently citing avant - garde texts as ...
... cinema's formal and ideological " pro- gram , " claiming for itself the status of a " counter cinema . " Film theory also adopted an increasingly critical attitude toward popular cinema , frequently citing avant - garde texts as ...
Side 32
... cinema , in which pleasure would be a function of something other than the familiar dualities . What has become increasingly apparent , however , is that those familiar dualities are not so easily dispensed with , and that the clas ...
... cinema , in which pleasure would be a function of something other than the familiar dualities . What has become increasingly apparent , however , is that those familiar dualities are not so easily dispensed with , and that the clas ...
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