Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 99
... movement . Plekhanov has already said that in the last analysis all phenomena could be reduced to movement . It is movement which will reveal to us all the deepest levels of internal synchronization , which can be determined ...
... movement . Plekhanov has already said that in the last analysis all phenomena could be reduced to movement . It is movement which will reveal to us all the deepest levels of internal synchronization , which can be determined ...
Side 127
... movement of the accent . In the movement from the icon shown in close - up ( in the abstract , so to speak ) in shot 2 , to the same subject in shot 3 , shown this time in a real decor by the gently swaying light of the lamps , the ...
... movement of the accent . In the movement from the icon shown in close - up ( in the abstract , so to speak ) in shot 2 , to the same subject in shot 3 , shown this time in a real decor by the gently swaying light of the lamps , the ...
Side 11
... movement , but one which affords a rather different view of that movement than that provided by existing histories2 - different because Sander's close - up of its domestic economy foregrounds rela- tions which are not recognized by ...
... movement , but one which affords a rather different view of that movement than that provided by existing histories2 - different because Sander's close - up of its domestic economy foregrounds rela- tions which are not recognized by ...
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