Discourse: Journal for Theoretical Studies in Media and Culture, Bind 5–7Discourse, 1983 |
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Side 86
... contradiction , there are abundant mentions ( and in every period ) of the " law " of the unity of opposites , of contradiction , and this is so in the most varied of subject matter areas and contexts . This can be seen clearly in the ...
... contradiction , there are abundant mentions ( and in every period ) of the " law " of the unity of opposites , of contradiction , and this is so in the most varied of subject matter areas and contexts . This can be seen clearly in the ...
Side 89
... contradiction . Here , precisely , more and more often , Eisenstein plays both cards simultaneously - the card of contradiction ( understood as conflict , the living nutriment of every phenomenon , and in particular the very principle ...
... contradiction . Here , precisely , more and more often , Eisenstein plays both cards simultaneously - the card of contradiction ( understood as conflict , the living nutriment of every phenomenon , and in particular the very principle ...
Side 33
... contradiction emerges . " The more contradictory a situation , the more contrasts you need to describe it . " 3 The words belong to Alexander Kluge , and presumably refer to the sorts of contradictions upon which his films have focused ...
... contradiction emerges . " The more contradictory a situation , the more contrasts you need to describe it . " 3 The words belong to Alexander Kluge , and presumably refer to the sorts of contradictions upon which his films have focused ...
Indhold
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Copyright | |
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Achternbusch Alexander Kluge analysis Anastasia Anni avant-garde Basmanov Cahiers du cinéma camera character Christa Wolf classical close-up concept context contradiction critical critique cultural defined desire dialectical diegesis diegetic discourse documentary dominant ecstasy effect Eisenstein Eisensteinian enunciation essay Euphrosinia example Farocki Fassbinder Fassbinder's female feminism feminist fiction film theory film's filmic filmmakers fragment frame function German Cinema Germany in Autumn Godard Helke Sander Herbert Achternbusch idea identification ideological imaginary Ivan Ivan's Kaja Silverman Lacan language Laura Mulvey Lili Marleen look male Marxism meaning metaphor Milena montage movement narrative narrator notion opposition organicism political position precisely present produce public sphere question relation relationship representation Roswitha scene sequence sexual difference shot signifiers social sound space speaking specific spectator story structure Subjective Factor symbolic television theme theoretical tion tive viewer visual voice voice-over West German woman women word