Discourse, Bind 5–81987 |
Fra bogen
Resultater 1-3 af 80
Side 117
... seen this with shot 38 , and it could be shown with other examples . ) Let us repeat - Eisenstein plays every card , and he plays the card of depth of field as much as any other ( a little more than quite a few others ) . He is content ...
... seen this with shot 38 , and it could be shown with other examples . ) Let us repeat - Eisenstein plays every card , and he plays the card of depth of field as much as any other ( a little more than quite a few others ) . He is content ...
Side 68
... seen is contradicted by the paradoxes of time . After all , one has no sooner seen than forgotten . I can say that I am looking while I should be saying that I have already seen , caught endlessly in a circumscribed reflection on the ...
... seen is contradicted by the paradoxes of time . After all , one has no sooner seen than forgotten . I can say that I am looking while I should be saying that I have already seen , caught endlessly in a circumscribed reflection on the ...
Side 90
... seen as characteristic in their concern with high culture , their way of dealing with degraded forms ( film or television ) is to bring them immediately within the domain of the spiritual : even these lowly examples can also contribute ...
... seen as characteristic in their concern with high culture , their way of dealing with degraded forms ( film or television ) is to bring them immediately within the domain of the spiritual : even these lowly examples can also contribute ...
Andre udgaver - Se alle
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