Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 14
... death had the appearance of the involuntarily best played scene in the career of a great actor obsessed with his exit . It was a brutal and magical death , like the one all of us secretly wish for . But in this solemn instance it had ...
... death had the appearance of the involuntarily best played scene in the career of a great actor obsessed with his exit . It was a brutal and magical death , like the one all of us secretly wish for . But in this solemn instance it had ...
Side 130
... death of Anastasia , rearticulates these partial " figurations " while combining them differently , by introducing another theme ( another " image " ) , that of death , or rather , of fatal love ( Anastasia's love for Kourbsky , Ivan's ...
... death of Anastasia , rearticulates these partial " figurations " while combining them differently , by introducing another theme ( another " image " ) , that of death , or rather , of fatal love ( Anastasia's love for Kourbsky , Ivan's ...
Side 81
... death ” while holding " the place of our missing death cults . " 28 This link between tech- nology and repression or , better , the possiblity of using technol- ogy for purposes of repression , seems to be rooted in a very general ...
... death ” while holding " the place of our missing death cults . " 28 This link between tech- nology and repression or , better , the possiblity of using technol- ogy for purposes of repression , seems to be rooted in a very general ...
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