Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 97
... give birth in him to the feeling of reality , do not contri- bute to the realization of the subject . These works are thus inevitably for- malist , because they are not founded on the desire to express in their total- ity real phenomena ...
... give birth in him to the feeling of reality , do not contri- bute to the realization of the subject . These works are thus inevitably for- malist , because they are not founded on the desire to express in their total- ity real phenomena ...
Side 104
... gives the camera is so direct , because who would not like to be addressed with so much feeling and honesty ? A nakedness of the soul comes through her words at the audience that only the cinema can give , when in life such a situation ...
... gives the camera is so direct , because who would not like to be addressed with so much feeling and honesty ? A nakedness of the soul comes through her words at the audience that only the cinema can give , when in life such a situation ...
Side 58
... Give her the silver gates ! ' The Lord So she went to heaven through sil- ver gates . Then the second woman came . ' What did you do down there ? ' The Lord asked . ' Sir , I loved only one man and mar- ried the same man . After ...
... Give her the silver gates ! ' The Lord So she went to heaven through sil- ver gates . Then the second woman came . ' What did you do down there ? ' The Lord asked . ' Sir , I loved only one man and mar- ried the same man . After ...
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