Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 104
... comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera , and therefore addressing us with words . whose poetic ...
... comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera , and therefore addressing us with words . whose poetic ...
Side 74
... comes a third man who has seen , has heard . . . . You know what follows . No doubt one could ask plenty of troubling questions about this chain of desire . In reality , aren't the men of Buenos Aires linked ... to each other ? What is ...
... comes a third man who has seen , has heard . . . . You know what follows . No doubt one could ask plenty of troubling questions about this chain of desire . In reality , aren't the men of Buenos Aires linked ... to each other ? What is ...
Side 15
... comes violently under the rule of Chronos ; actions are right only at their appointed hours , and a text of ... come back to Franklin : it was he who , perhaps most ominously , injected the notion into our brains that " time is money ...
... comes violently under the rule of Chronos ; actions are right only at their appointed hours , and a text of ... come back to Franklin : it was he who , perhaps most ominously , injected the notion into our brains that " time is money ...
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