Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Ausgaben 1-5Indiana University Press, 1979 |
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Seite 17
... diegesis . 11 And in terms of belief , I think that the balance is not the same in the cinema spectator , because the material of the signifier in the theater is completely real . The material which is used to depict the diegesis in the ...
... diegesis . 11 And in terms of belief , I think that the balance is not the same in the cinema spectator , because the material of the signifier in the theater is completely real . The material which is used to depict the diegesis in the ...
Seite 18
... diegesis . How would one articulate the relationship between the role of the diegesis of the film , or theater or novel , and the role of diegesis in psychoanalytic therapy ? M : There is one main difference , I think , between diegesis ...
... diegesis . How would one articulate the relationship between the role of the diegesis of the film , or theater or novel , and the role of diegesis in psychoanalytic therapy ? M : There is one main difference , I think , between diegesis ...
Seite 23
... much more unreal in film ( and commercials ) which makes the belief in the diegesis of the film ( or commercial ) all the more real ( in cinematic terms ) .56 The concepts of mass production / efficiency and product differen-. 23.
... much more unreal in film ( and commercials ) which makes the belief in the diegesis of the film ( or commercial ) all the more real ( in cinematic terms ) .56 The concepts of mass production / efficiency and product differen-. 23.
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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according analysis appears attempt become beginning body called castration character cinema communication complex concept concerned connotation construction continues course critical cultural desire dialectic diegesis discourse effect Eisenstein elements example existence experience expression fact fiction figure film finally forces frame Freud function give hand human idea ideological imaginary important individual interest issues Italy Ivan kind knowledge language literature look male marks Marxism material meaning montage mother movement narrative nature never notion object once particular play political position possible practices precisely present problem produced question reference relation relationship remains representation represents seems sense sequence sexual shot signifier situation social society space speak specific spectator story structure Superman symbolic takes theory things tion tradition whole woman women writing