Discourse: Journal for Theoretical Studies in Media and Culture, Bind 5–7Discourse, 1983 |
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Resultater 1-3 af 51
Side 52
... frame . " Frame . The word , taken as is from French ( cadre ) does not exist in Russian prior to its introduction into the film vocabulary . There is therefore nothing pictorial in the word kadr , the film frame . At least there is ...
... frame . " Frame . The word , taken as is from French ( cadre ) does not exist in Russian prior to its introduction into the film vocabulary . There is therefore nothing pictorial in the word kadr , the film frame . At least there is ...
Side 53
... frame , " each time taking into the frame only what is necessary for the given phase of the movement of the scene . But this sorting out of the sole ele- ments necessary [ ... ] is also obligatory for its construction on the stage . It ...
... frame , " each time taking into the frame only what is necessary for the given phase of the movement of the scene . But this sorting out of the sole ele- ments necessary [ ... ] is also obligatory for its construction on the stage . It ...
Side 119
... frame . Here , as in the silent films , the frame functions as a relatively autonomous unit , and all the more openly because it is based on a more immediate referent , the one posited by the evidence of the prior mise - en - scène ...
... frame . Here , as in the silent films , the frame functions as a relatively autonomous unit , and all the more openly because it is based on a more immediate referent , the one posited by the evidence of the prior mise - en - scène ...
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