Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 32
... course , the ubiquitous voice - over that directs our view of the images and transactions on the screen . The structure of the film is derived , not from any narrative progression or character development , but rather from the course ...
... course , the ubiquitous voice - over that directs our view of the images and transactions on the screen . The structure of the film is derived , not from any narrative progression or character development , but rather from the course ...
Side 92
... course which seems subversive and reassuring . It turns out that what bothers him ( he looks rather worried throughout the film ) is that another sort of production is going on in his very own clinic over which he has absolutely no ...
... course which seems subversive and reassuring . It turns out that what bothers him ( he looks rather worried throughout the film ) is that another sort of production is going on in his very own clinic over which he has absolutely no ...
Side 8
... course , this is the straight road into division , fragmentation , chaos . Erich Jantsch , however , who traces evolving forms from bio - chemical to cultural self - organiza- tion , comes up with very different findings . The more ...
... course , this is the straight road into division , fragmentation , chaos . Erich Jantsch , however , who traces evolving forms from bio - chemical to cultural self - organiza- tion , comes up with very different findings . The more ...
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