Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 71
... memory knowing I can- not , shocked by the simultaneity of doing something while aware that I am not doing it ... memory- etched ? —written perhaps ? Freud's mystic pad ? Perhaps it is the word memory that stifles me — perhaps that word ...
... memory knowing I can- not , shocked by the simultaneity of doing something while aware that I am not doing it ... memory- etched ? —written perhaps ? Freud's mystic pad ? Perhaps it is the word memory that stifles me — perhaps that word ...
Side 73
... memory a place , for example , there could be no sets of relationships possible for memory and experience . Memory is already there , not to be filled , as it were , with memories but to function as a site of cognition . Similarly ...
... memory a place , for example , there could be no sets of relationships possible for memory and experience . Memory is already there , not to be filled , as it were , with memories but to function as a site of cognition . Similarly ...
Side 90
... memory is raised . Genetic memory is ahistorical , it does not , as Lacan has pointed out , " remember . " For all we know , events which have taken place at a previous location do not leave their traces in genetic memory , traces which ...
... memory is raised . Genetic memory is ahistorical , it does not , as Lacan has pointed out , " remember . " For all we know , events which have taken place at a previous location do not leave their traces in genetic memory , traces which ...
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