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Seite 21
In this way , then , the process of suturing has to do with the primary identification , because the character - off is ... But in these shots , you also have characters who are not off , but who are looked at by the character - off .
In this way , then , the process of suturing has to do with the primary identification , because the character - off is ... But in these shots , you also have characters who are not off , but who are looked at by the character - off .
Seite 107
Like the characters of a timeless myth he is a perfect being who neither errs , changes , ages , or develops . Un- like mortals , writes Eco , he does not exist in time and thereby does not " consume " himself in his actions .
Like the characters of a timeless myth he is a perfect being who neither errs , changes , ages , or develops . Un- like mortals , writes Eco , he does not exist in time and thereby does not " consume " himself in his actions .
Seite 4
... identification with the character , the video systematically subverts this structure by staging these theatrical ... from the diegeticized viewpoint of the character ; or both , images wherein the spectator is excluded from the ...
... identification with the character , the video systematically subverts this structure by staging these theatrical ... from the diegeticized viewpoint of the character ; or both , images wherein the spectator is excluded from the ...
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Inhalt
BERKELEY JOURNAL FOR THEORETICAL STUDIES IN MEDIA AND CULTURE | 7 |
The Order of Cinematographic Discourse | 39 |
Jürgen Habermas and | 59 |
Urheberrecht | |
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