Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 22
... relations of power and pleasure , with individuals and groups assuming variable posi- tions or positionalities . Power is ... relation to power , [ but ] by definition , they can only exist in the strategic field of power relations ...
... relations of power and pleasure , with individuals and groups assuming variable posi- tions or positionalities . Power is ... relation to power , [ but ] by definition , they can only exist in the strategic field of power relations ...
Side 28
... relation implies . Instead , it raids the existing discursive field , carrying away what it can use and abandoning ... relations . It not only critiques orthodox usage , but practices a creatively non - orthodox discursivity . Last , but ...
... relation implies . Instead , it raids the existing discursive field , carrying away what it can use and abandoning ... relations . It not only critiques orthodox usage , but practices a creatively non - orthodox discursivity . Last , but ...
Side 45
... relationship between spectator and film , and it is no coincidence that we raise these issues about the visual perception of the film and the nature of the image at a time when all current theories of film describe this relation as ...
... relationship between spectator and film , and it is no coincidence that we raise these issues about the visual perception of the film and the nature of the image at a time when all current theories of film describe this relation as ...
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