Discourse, Ausgaben 5-8 |
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Seite 80
... Eisenstein has used all his ingenuity to show that same state of ecstasy to be . If that state is so formless , one may , of course , always hope to orient it to suit one's desires ( and this is what Eisenstein does not fail to suggest ) ...
... Eisenstein has used all his ingenuity to show that same state of ecstasy to be . If that state is so formless , one may , of course , always hope to orient it to suit one's desires ( and this is what Eisenstein does not fail to suggest ) ...
Seite 85
... Eisenstein's thinking . Studies of Eisenstein , at least those which are concerned with this issue ( and they are few in number ) , have in general a tendency to feel that a " young Eisenstein , " who supposedly adhered to a ...
... Eisenstein's thinking . Studies of Eisenstein , at least those which are concerned with this issue ( and they are few in number ) , have in general a tendency to feel that a " young Eisenstein , " who supposedly adhered to a ...
Seite 92
... Eisenstein is not the Brecht of Soviet cinema . Translated by Lee Hildreth Notes 1. Jacques Aumont , Montage Eisenstein , ( Paris : Editions Albatros , Collection Ca / Cinéma , 1979. ) , pp . 41-90 . 2. The reader of this translation ...
... Eisenstein is not the Brecht of Soviet cinema . Translated by Lee Hildreth Notes 1. Jacques Aumont , Montage Eisenstein , ( Paris : Editions Albatros , Collection Ca / Cinéma , 1979. ) , pp . 41-90 . 2. The reader of this translation ...
Inhalt
BERKELEY JOURNAL FOR THEORETICAL STUDIES IN MEDIA AND CULTURE | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Urheberrecht | |
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Achternbusch Alexander Kluge Anastasia avant-garde body Buenos Aires Cabaret Cahiers du cinéma camera character classical concept construction context contradiction critical critique culture desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation Euphrosinia example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Cinema Germany in Autumn Godard Helke Sander Herbert Achternbusch idea identification identity ideological imaginary India Cabaret Indian Ivan Ivan's Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor Milena montage movement narrative narrator notion opposition organicism political Porteño position precisely present produce public sphere question relation relationship representation scene sequence sexual difference shot signifier social sound space speak spectator speech story structure Subjective Factor symbolic tango television theme theoretical tion tive viewer visual voice voice-over woman women word writing