Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Resultater 1-3 af 79
Side 113
... space , fragmented by the cutting / editing , deformed by the framing , nonetheless remains unified and continuous . And this is quite obvi- ously due to this scrupulously thorough positioning of the figures in the space . More ...
... space , fragmented by the cutting / editing , deformed by the framing , nonetheless remains unified and continuous . And this is quite obvi- ously due to this scrupulously thorough positioning of the figures in the space . More ...
Side 119
... space in a very written mode . Whether he " flattens it out " ( as with the case of the shot of Ivan at Alexandrov ) or whether , much more frequently , he hollows it out by distorting it ( his fondness for the " 28 " lense is well ...
... space in a very written mode . Whether he " flattens it out " ( as with the case of the shot of Ivan at Alexandrov ) or whether , much more frequently , he hollows it out by distorting it ( his fondness for the " 28 " lense is well ...
Side 110
... space . One of the first images in the film is an animated but realistic image of the planet revolving . This prefaces the contents of the film with a global dimension , an omniscient point of view which characterizes imperialism ...
... space . One of the first images in the film is an animated but realistic image of the planet revolving . This prefaces the contents of the film with a global dimension , an omniscient point of view which characterizes imperialism ...
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