Discourse: Journal for Theoretical Studies in Media and Culture, Bind 5–7Discourse, 1983 |
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Side 120
... look , which has just been mentioned . ) The looks exchanged articulate the discourse at the same time that they disarticu- late the space.19 In shots 26-27-28-29 , for example , it is quite obvious that Ivan's looks ( and his anger ) ...
... look , which has just been mentioned . ) The looks exchanged articulate the discourse at the same time that they disarticu- late the space.19 In shots 26-27-28-29 , for example , it is quite obvious that Ivan's looks ( and his anger ) ...
Side 69
... look in the film rather functions like a Lacanian gaze , the look that pre - exists the sub- ject in the field of desire . Never satisfied nor ever satisfiable , this gaze is challenged by the vast panorama of disasters which is German ...
... look in the film rather functions like a Lacanian gaze , the look that pre - exists the sub- ject in the field of desire . Never satisfied nor ever satisfiable , this gaze is challenged by the vast panorama of disasters which is German ...
Side 53
... look . There is a radical difference between the uses of the look and the voice here : though both are involved in establishing an imaginary relationship between film and viewer , the voice ( Godard's voice , to be referred to the ...
... look . There is a radical difference between the uses of the look and the voice here : though both are involved in establishing an imaginary relationship between film and viewer , the voice ( Godard's voice , to be referred to the ...
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