Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 52
... frame . " Frame . The word , taken as is from French ( cadre ) does not exist in Russian prior to its introduction into the film vocabulary . There is therefore nothing pictorial in the word kadr , the film frame . At least there is ...
... frame . " Frame . The word , taken as is from French ( cadre ) does not exist in Russian prior to its introduction into the film vocabulary . There is therefore nothing pictorial in the word kadr , the film frame . At least there is ...
Side 53
... frame , " each time taking into the frame only what is necessary for the given phase of the movement of the scene . But this sorting out of the sole ele- ments necessary [ ... ] is also obligatory for its construction on the stage . It ...
... frame , " each time taking into the frame only what is necessary for the given phase of the movement of the scene . But this sorting out of the sole ele- ments necessary [ ... ] is also obligatory for its construction on the stage . It ...
Side 119
... frame . Here , as in the silent films , the frame functions as a relatively autonomous unit , and all the more openly because it is based on a more immediate referent , the one posited by the evidence of the prior mise - en - scène ...
... frame . Here , as in the silent films , the frame functions as a relatively autonomous unit , and all the more openly because it is based on a more immediate referent , the one posited by the evidence of the prior mise - en - scène ...
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