Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 94
... close - up is inseparable for Eisenstein from that of montage and from that of the fragment and bears witness in addition to the fact that these latter two concepts function simultaneously in Eisensteinian theory . For Bon- itzer , the ...
... close - up is inseparable for Eisenstein from that of montage and from that of the fragment and bears witness in addition to the fact that these latter two concepts function simultaneously in Eisensteinian theory . For Bon- itzer , the ...
Side 114
... close - ups , which can be categorized chiefly as either close - ups of faces ( Anastasia , 47 ; Basmanov , F ; Ivan and Basmanov , O ; Euphrosinia , 17 and 30 ) or as close - ups of objects ( the goblets , especially 40 and H , the ...
... close - ups , which can be categorized chiefly as either close - ups of faces ( Anastasia , 47 ; Basmanov , F ; Ivan and Basmanov , O ; Euphrosinia , 17 and 30 ) or as close - ups of objects ( the goblets , especially 40 and H , the ...
Side 115
... close - up " ( as one might speak of a " principle of mon- tage " independently of any given form of montage ) , in relation to the classical economy of representation , it is inscribed as a permanent danger , that of the elimination of ...
... close - up " ( as one might speak of a " principle of mon- tage " independently of any given form of montage ) , in relation to the classical economy of representation , it is inscribed as a permanent danger , that of the elimination 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