Discourse, Bind 5–81987 |
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Side 15
third - person voice - over has also traditionally spoken without seeming to address anyone in particular - to emanate from " on high . 8 The third - person voice in The Subjective Factor , on the other hand , is female , and closely ...
third - person voice - over has also traditionally spoken without seeming to address anyone in particular - to emanate from " on high . 8 The third - person voice in The Subjective Factor , on the other hand , is female , and closely ...
Side 52
... voice takes us further than the usual consideration of ' two types of space ' , 26 to an examination of the voice's location within the visible , as well as ( more difficultly ) with- in the invisible . To stick to the most constantly ...
... voice takes us further than the usual consideration of ' two types of space ' , 26 to an examination of the voice's location within the visible , as well as ( more difficultly ) with- in the invisible . To stick to the most constantly ...
Side 53
physical characteristics of the voice , makes the voice almost palpa- ble ; in imaginary terms , it reinforces the voice's omnipotence , its power by divine right . Naturally , we could describe in a similar fashion the way the film ...
physical characteristics of the voice , makes the voice almost palpa- ble ; in imaginary terms , it reinforces the voice's omnipotence , its power by divine right . Naturally , we could describe in a similar fashion the way the film ...
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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