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Seite 44
... its subjective effects , its general history ... and which are the main subject of all of Eisenstein's efforts at synthesis during the 1930's and 40's . The central idea here , covering the social and ideological role of the cinema ...
... its subjective effects , its general history ... and which are the main subject of all of Eisenstein's efforts at synthesis during the 1930's and 40's . The central idea here , covering the social and ideological role of the cinema ...
Seite 90
We know that this theme of the " bound " obsessed Eisenstein , particu- larly in everything that has to do with the production of " ecstasy " in the spectator ( the idea of the " leap " obsesses " Non - indifferent Nature , " where it ...
We know that this theme of the " bound " obsessed Eisenstein , particu- larly in everything that has to do with the production of " ecstasy " in the spectator ( the idea of the " leap " obsesses " Non - indifferent Nature , " where it ...
Seite 99
In the persistence with which he leads his idea — the idea of unity — towards its content and its true meaning . ... These ideas looking for their adequate manifestation are enough to make you believe you are dreaming . 55.
In the persistence with which he leads his idea — the idea of unity — towards its content and its true meaning . ... These ideas looking for their adequate manifestation are enough to make you believe you are dreaming . 55.
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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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