Discourse, Ausgaben 5-8 |
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Seite 101
... comes immediately after a sign of that recovery - the executions of the boyars ) . 3 ) Lastly ( and this point will be examined in greater detail later on ) , the symbolic substitution of Basmanov for Anastasia is acted out in this ...
... comes immediately after a sign of that recovery - the executions of the boyars ) . 3 ) Lastly ( and this point will be examined in greater detail later on ) , the symbolic substitution of Basmanov for Anastasia is acted out in this ...
Seite 104
... comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera , and therefore addressing us with words whose poetic ...
... comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera , and therefore addressing us with words whose poetic ...
Seite 74
... comes a third man who has seen , has heard . . . . You know what follows . No doubt one could ask plenty of troubling questions about this chain of desire . In reality , aren't the men of Buenos Aires linked ... to each other ? What is ...
... comes a third man who has seen , has heard . . . . You know what follows . No doubt one could ask plenty of troubling questions about this chain of desire . In reality , aren't the men of Buenos Aires linked ... to each other ? What is ...
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