Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 63
... effect . Example : the conclusion of Strike , which : did not have that blood curdling effect on the working class public for the simple reason that in the mind of the worker beef blood is associated first of all with the blood recupera ...
... effect . Example : the conclusion of Strike , which : did not have that blood curdling effect on the working class public for the simple reason that in the mind of the worker beef blood is associated first of all with the blood recupera ...
Side 117
... effect of a receding perspective ( ... ) is completely negated by the rigorous order of the composition . " But if he is able to make his point so easily , that is due to ( at least ) two oversights on his part . First of all , his ...
... effect of a receding perspective ( ... ) is completely negated by the rigorous order of the composition . " But if he is able to make his point so easily , that is due to ( at least ) two oversights on his part . First of all , his ...
Side 130
... effects track ) . And , intertwined with these three elements , the musical theme scans the whole passage , or , more precisely , it has the effect of putting the whole of the sound track , music , sound effects , and words , entirely ...
... effects track ) . And , intertwined with these three elements , the musical theme scans the whole passage , or , more precisely , it has the effect of putting the whole of the sound track , music , sound effects , and words , entirely ...
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