Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 136
... scene ( that of politics - maneuverings of strategies around power ) by the other scene , the one in which the repressed erotic content is at work . This is particularly notable in the second passage of our sequence , where the ...
... scene ( that of politics - maneuverings of strategies around power ) by the other scene , the one in which the repressed erotic content is at work . This is particularly notable in the second passage of our sequence , where the ...
Side 90
... scene of himself at work on a TV- adaptation of Alfred Döblin's Berlin Alexanderplatz , Fassbinder self - stylizes . We see him dictate the scene descriptions into a machine : " Franz is seen in medium close - up through a door . He ...
... scene of himself at work on a TV- adaptation of Alfred Döblin's Berlin Alexanderplatz , Fassbinder self - stylizes . We see him dictate the scene descriptions into a machine : " Franz is seen in medium close - up through a door . He ...
Side 104
... scene from Servus Bayern ( 1978 ) comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera , and therefore ...
... scene from Servus Bayern ( 1978 ) comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera , and therefore ...
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