Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 71
... feeling that I will never understand the tears . Might as well give up . I am still bothered though . I nag myself . After all what picture do I have of my own body ? I feel the internal , but can only touch the external . I see only a ...
... feeling that I will never understand the tears . Might as well give up . I am still bothered though . I nag myself . After all what picture do I have of my own body ? I feel the internal , but can only touch the external . I see only a ...
Side 6
... feel shame , why should the viewed ? ” ( Vasanti , in India Cabaret ) . Buyers and sellers are bound to one another ... feeling of being distinct ( if not superior ) from the dancers , and the desire to uplift those supposedly in need of ...
... feel shame , why should the viewed ? ” ( Vasanti , in India Cabaret ) . Buyers and sellers are bound to one another ... feeling of being distinct ( if not superior ) from the dancers , and the desire to uplift those supposedly in need of ...
Side 68
... feel that there should be no language of compromise , that you should stake out on your own , that marriage is a fall from grace . And men were provoked too : there were many men in the audiences who would rather not hear , rather not ...
... feel that there should be no language of compromise , that you should stake out on your own , that marriage is a fall from grace . And men were provoked too : there were many men in the audiences who would rather not hear , rather not ...
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