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Seite 47
Very nearly on a par with the concept of montage , it is , I believe , the word most often used by Eisenstein . Still more important , of all the concepts developed and / or used during the twenties , it is the only one , again along ...
Very nearly on a par with the concept of montage , it is , I believe , the word most often used by Eisenstein . Still more important , of all the concepts developed and / or used during the twenties , it is the only one , again along ...
Seite 57
21 and this one , more specifically concerned with the fragment : By what then are montage and its embryo - the frame- characterized ? By collision . By the conflict of two fragments placed side by side . By conflict . By collision .
21 and this one , more specifically concerned with the fragment : By what then are montage and its embryo - the frame- characterized ? By collision . By the conflict of two fragments placed side by side . By conflict . By collision .
Seite 93
548 ) , Eisenstein begins a critique of harmonic montage which coincides with what is being suggested in the present work . He says that in the absence of the possibility of actually calculating all the parameters of a fragment ...
548 ) , Eisenstein begins a critique of harmonic montage which coincides with what is being suggested in the present work . He says that in the absence of the possibility of actually calculating all the parameters of a fragment ...
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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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