Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 120
... look , which has just been mentioned . ) The looks exchanged articulate the discourse at the same time that they disarticu- late the space . In shots 26-27-28-29 , for example , it is quite obvious that Ivan's looks ( and his anger ) ...
... look , which has just been mentioned . ) The looks exchanged articulate the discourse at the same time that they disarticu- late the space . In shots 26-27-28-29 , for example , it is quite obvious that Ivan's looks ( and his anger ) ...
Side 53
... look . There is a radical difference between the uses of the look and the voice here : though both are involved in establishing an imaginary relationship between film and viewer , the voice ( Godard's voice , to be referred to the ...
... look . There is a radical difference between the uses of the look and the voice here : though both are involved in establishing an imaginary relationship between film and viewer , the voice ( Godard's voice , to be referred to the ...
Side 4
... look of the feminine Orient re- writes the moment of unveiling only by partaking in the painter's sense of exoticism , an exoticism whose power lies in its secret , forbidden , and fleeting aspects . The look has beauty because it is a look ...
... look of the feminine Orient re- writes the moment of unveiling only by partaking in the painter's sense of exoticism , an exoticism whose power lies in its secret , forbidden , and fleeting aspects . The look has beauty because it is a look ...
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