Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 28
... kind of resistance , and does so thematically as well as formally , working through the problematic of temporality , narrative and montage . It sug- gests a resistance , in the film and within the practice of cinema , to be understood ...
... kind of resistance , and does so thematically as well as formally , working through the problematic of temporality , narrative and montage . It sug- gests a resistance , in the film and within the practice of cinema , to be understood ...
Side 124
... kind of written discourse ( which in this particular case would come to represent some- thing like a literal interpretation of the metaphor , " the czarist power was overturned in February 1917. " ) I will not overemphasize this example ...
... kind of written discourse ( which in this particular case would come to represent some- thing like a literal interpretation of the metaphor , " the czarist power was overturned in February 1917. " ) I will not overemphasize this example ...
Side 111
... kind of performance - film as both an affirmation and a refusal , affirmation of a presence that is irreducible precisely because it cannot be transformed into a character and a fiction , and a refusal of the kind of hallucinated ...
... kind of performance - film as both an affirmation and a refusal , affirmation of a presence that is irreducible precisely because it cannot be transformed into a character and a fiction , and a refusal of the kind of hallucinated ...
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