Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 37
... sexual behaviors were , first medically categorized and labeled as sexual perversions , then given juridical status as individual personality types , in The History of Sexuality , pp . 36-49 . The above excerpts from the dialogue of Bad ...
... sexual behaviors were , first medically categorized and labeled as sexual perversions , then given juridical status as individual personality types , in The History of Sexuality , pp . 36-49 . The above excerpts from the dialogue of Bad ...
Side 19
... sexual differentiation . The mirror relationship of the two shots in the montage sequence draws our attention to a second subjective factor , one much more con- cerned with establishing similarities than differences . Through the jux ...
... sexual differentiation . The mirror relationship of the two shots in the montage sequence draws our attention to a second subjective factor , one much more con- cerned with establishing similarities than differences . Through the jux ...
Side 49
... sexual difference . Lessing recognizes the importance of sexual difference at the heart of cultural systems and institutions organized by the symbolic order , yet her writing elaborates fables of survival be- yond a phallogocentric ...
... sexual difference . Lessing recognizes the importance of sexual difference at the heart of cultural systems and institutions organized by the symbolic order , yet her writing elaborates fables of survival be- yond a phallogocentric ...
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