Discourse, Bind 5–81987 |
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Side 50
... cinema must not be forgotten [ ... ] . They define the concept of montage as the indispensable language , charged with meaning , and the only possible one for cinema , offering a perfect parallelism with the role of the word in verbal ...
... cinema must not be forgotten [ ... ] . They define the concept of montage as the indispensable language , charged with meaning , and the only possible one for cinema , offering a perfect parallelism with the role of the word in verbal ...
Side 4
... cinema's formal and ideological " pro- gram , " claiming for itself the status of a " counter cinema . " Film theory also adopted an increasingly critical attitude toward popular cinema , frequently citing avant - garde texts as ...
... cinema's formal and ideological " pro- gram , " claiming for itself the status of a " counter cinema . " Film theory also adopted an increasingly critical attitude toward popular cinema , frequently citing avant - garde texts as ...
Side 32
... cinema , in which pleasure would be a function of something other than the familiar dualities . What has become increasingly apparent , however , is that those familiar dualities are not so easily dispensed with , and that the clas ...
... cinema , in which pleasure would be a function of something other than the familiar dualities . What has become increasingly apparent , however , is that those familiar dualities are not so easily dispensed with , and that the clas ...
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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