Discourse, Bind 5–81987 |
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Side 135
... character typing . It is important to emphasize that this is a mode of character typ- ing radically different from those previously used by Eisenstein . The Mensheviks of October are typed as Mensheviks , i.e. , as occupants of a given ...
... character typing . It is important to emphasize that this is a mode of character typ- ing radically different from those previously used by Eisenstein . The Mensheviks of October are typed as Mensheviks , i.e. , as occupants of a given ...
Side 32
... character in the realist sense of character unity and psychological motivation , she is nevertheless a compelling presence on screen and the nominal focus of the film . Her persona as well as her distillation of the film's narrative and ...
... character in the realist sense of character unity and psychological motivation , she is nevertheless a compelling presence on screen and the nominal focus of the film . Her persona as well as her distillation of the film's narrative and ...
Side 68
... characters does not pretend to the illusionistic wholeness of conventional female protagonists , but makes the character readable as a construction , as a focal point of intersecting discourses . Thus , she achieves the relative ...
... characters does not pretend to the illusionistic wholeness of conventional female protagonists , but makes the character readable as a construction , as a focal point of intersecting discourses . Thus , she achieves the relative ...
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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