Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 60
... definition of the word . Without giving up the " aggressive " characteristics which have just been defined , the attraction begins to designate , or , at least ( for none of this is ever clearly formulated ) , to evoke a process of more ...
... definition of the word . Without giving up the " aggressive " characteristics which have just been defined , the attraction begins to designate , or , at least ( for none of this is ever clearly formulated ) , to evoke a process of more ...
Side 20
... defined by the unpaid labor which they continue to perform within the home , labor which is defined in terms of personal needs rather than the demands of capital . The definition of women in terms of unpaid labor produces female ...
... defined by the unpaid labor which they continue to perform within the home , labor which is defined in terms of personal needs rather than the demands of capital . The definition of women in terms of unpaid labor produces female ...
Side 60
... defined and fixed once and for all by the apparatus , opposes an almost infinite variety of identificatory ( narrative ) situations to the immutability of the ' perceptive ' identification , thereby implying an excessive rigidity of the ...
... defined and fixed once and for all by the apparatus , opposes an almost infinite variety of identificatory ( narrative ) situations to the immutability of the ' perceptive ' identification , thereby implying an excessive rigidity of the ...
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