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Seite 56
( Once again , I quite agree that the effect sought and pro- duced is not the same as in the classic cinema . ... work is moreover very often combined with that of perspective effects of short focal length , as in the preceding case .
( Once again , I quite agree that the effect sought and pro- duced is not the same as in the classic cinema . ... work is moreover very often combined with that of perspective effects of short focal length , as in the preceding case .
Seite 77
And , when Eisenstein introduces it , apropos of Potemkin , it is as a " positive effect , " aiming at leading [ his ] contemporaries to the necessary , correct , left- wing , active " pumping up . " ( " Constantza " ) At this point ...
And , when Eisenstein introduces it , apropos of Potemkin , it is as a " positive effect , " aiming at leading [ his ] contemporaries to the necessary , correct , left- wing , active " pumping up . " ( " Constantza " ) At this point ...
Seite 130
When this effect reaches its most extreme development , nothing appears " real " any longer , not even Euphrosinia's phrase ( there is no longer anything that is only analogical ) . Each element , the sound as well as the visual ...
When this effect reaches its most extreme development , nothing appears " real " any longer , not even Euphrosinia's phrase ( there is no longer anything that is only analogical ) . Each element , the sound as well as the visual ...
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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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