Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Ausgaben 1-5Indiana University Press, 1979 |
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Seite 121
... sequence of Riddles . Would you talk about that sequence ? LM : Well , the first thing is that towards the end of the film , the narrative thread is lost . It's a return to questions of desire . It's true that you've lost the narrative ...
... sequence of Riddles . Would you talk about that sequence ? LM : Well , the first thing is that towards the end of the film , the narrative thread is lost . It's a return to questions of desire . It's true that you've lost the narrative ...
Seite 31
... sequence is to background the film's titles and credits , consequently the denoted information is limited . And while the sequence is related to the film's story conceptually , it is set apart from the narrative progression . Thus , as ...
... sequence is to background the film's titles and credits , consequently the denoted information is limited . And while the sequence is related to the film's story conceptually , it is set apart from the narrative progression . Thus , as ...
Seite 100
... sequence ” a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part 1 and Part 2 , and their difference . Eisenstein himself specifically designated the sequence of the lamentations over ...
... sequence ” a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part 1 and Part 2 , and their difference . Eisenstein himself specifically designated the sequence of the lamentations over ...
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