Discourse, Bind 5–81987 |
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Side 135
... position of the characters , nor a simple moral judgement about them , nor even about their political position - but something much more archetypal , which is superimposed on all these other meanings . Another example of this symbolic ...
... position of the characters , nor a simple moral judgement about them , nor even about their political position - but something much more archetypal , which is superimposed on all these other meanings . Another example of this symbolic ...
Side 36
... position outside of history , as a kind of blank page , upon which such a collapse is written . The film is full of performances within the film , full of scenes structured by variations on the theme of woman as object of spectacle ...
... position outside of history , as a kind of blank page , upon which such a collapse is written . The film is full of performances within the film , full of scenes structured by variations on the theme of woman as object of spectacle ...
Side 52
... position of the two ' narrators ' . First position in the paradigm : one of them , facing the camera , recites the fixed formula which effects the transition to the final section . This is a simple case of the perfect coalescence of ...
... position of the two ' narrators ' . First position in the paradigm : one of them , facing the camera , recites the fixed formula which effects the transition to the final section . This is a simple case of the perfect coalescence 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