Discourse, Bind 5–81987 |
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Side 100
... become no different from what one might see with one's own eyes during a train journey , while waiting at a traffic light , or when concentrating on recalling a childhood memory . They reaffirm a certain quality of perception , a cer ...
... become no different from what one might see with one's own eyes during a train journey , while waiting at a traffic light , or when concentrating on recalling a childhood memory . They reaffirm a certain quality of perception , a cer ...
Side 28
... become dangerous.26 Myth can be both vitality and entropy , the first means of generating change and its fossilization . A feminist perspective should insist on the need to prolong the middle phase , that so easily becomes masked or ...
... become dangerous.26 Myth can be both vitality and entropy , the first means of generating change and its fossilization . A feminist perspective should insist on the need to prolong the middle phase , that so easily becomes masked or ...
Side 96
... become evident in the 1980s , however , is that such critical positions , whether explicity formulated in theoretical terms or implicitly present in a given practice , are themselves vul- nerable to an ideological charge : that of ...
... become evident in the 1980s , however , is that such critical positions , whether explicity formulated in theoretical terms or implicitly present in a given practice , are themselves vul- nerable to an ideological charge : that of ...
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Achternbusch Alexander Kluge Anastasia avant-garde body Buenos Aires Cabaret Cahiers du cinéma camera character classical concept context contradiction critical critique culture desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation Euphrosinia example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Cinema Germany in Autumn Godard Helke Sander Herbert Achternbusch idea identification identity ideological imaginary India Cabaret Indian Ivan Ivan's Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor Milena montage movement narrative narrator notion opposition organicism political Porteño position precisely present produce public sphere question relation relationship representation Roswitha scene sequence sexual difference shot signifier social sound space speak spectator speech story structure Subjective Factor symbolic tango television theme theoretical tion tive viewer visual voice voice-over woman women word writing