Discourse, Bind 5–81987 |
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Side 91
... comes to unify all the specific cases , all the levels of the problem of montage ( with Plekhanov , for example , as a guarantee ) ; " elsewhere , it will account for the predilection for a " linear " drawing ; and it is what finally comes ...
... comes to unify all the specific cases , all the levels of the problem of montage ( with Plekhanov , for example , as a guarantee ) ; " elsewhere , it will account for the predilection for a " linear " drawing ; and it is what finally comes ...
Side 110
comes back into the bedchamber ( our second passage ) and his face at the burial of Anastasia , whereas in shot A he looks much older . Once again , to the detriment of " realism , " this similarity is clearly deter- mined by the ...
comes back into the bedchamber ( our second passage ) and his face at the burial of Anastasia , whereas in shot A he looks much older . Once again , to the detriment of " realism , " this similarity is clearly deter- mined by the ...
Side 104
... comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera , and therefore addressing us with words . whose poetic ...
... comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera , and therefore addressing us with words . whose poetic ...
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Almindelige termer og sætninger
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