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Seite 16
I think the difference between the cinematic and the theatrical situations lies in the relation of forces between these two agencies , or , more precisely , the balance of forces between the material of the representa- tion - the ...
I think the difference between the cinematic and the theatrical situations lies in the relation of forces between these two agencies , or , more precisely , the balance of forces between the material of the representa- tion - the ...
Seite 17
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 theater is ...
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 theater is ...
Seite 23
A fiction has been generated elsewhere , yet the material of the signifier appears to remain within the real space of the store , while in the TV commercial you are faced with what is unreal , because the material of the signifier is ...
A fiction has been generated elsewhere , yet the material of the signifier appears to remain within the real space of the store , while in the TV commercial you are faced with what is unreal , because the material of the signifier is ...
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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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