Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bind 5–9Indiana University Press, 1983 |
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Side 61
... tion . Long after having pretty much eliminated the word " attraction " from his vocabulary , Eisenstein returned in an even more insistent and often more precise manner to this problem . He did so first of all with the theory of ...
... tion . Long after having pretty much eliminated the word " attraction " from his vocabulary , Eisenstein returned in an even more insistent and often more precise manner to this problem . He did so first of all with the theory of ...
Side 124
... tion , producing the crown , the scepter , the orb , the eagles , the czar's name before us in a hyperarticulated way , functions as a kind of written discourse ( which in this particular case would come to represent some- thing like a ...
... tion , producing the crown , the scepter , the orb , the eagles , the czar's name before us in a hyperarticulated way , functions as a kind of written discourse ( which in this particular case would come to represent some- thing like a ...
Side 105
... tion ( as in ' historical ' films ) or by insisting on some form of ' materi- ality ' of the image ( as in Farocki's treatment of images as ' docu- ments ' for instance ) . In the former case ( and this includes most filmed or televised ...
... tion ( as in ' historical ' films ) or by insisting on some form of ' materi- ality ' of the image ( as in Farocki's treatment of images as ' docu- ments ' for instance ) . In the former case ( and this includes most filmed or televised ...
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