Discourse, Ausgaben 5-8 |
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Seite 44
... concept of ecstasy and in the search for organicism ( we shall see how these two concepts incorporate the idea of pathos , which , in any case , is not pecu- liar to Eisenstein ) . Once again , I do not claim to be definitive or ...
... concept of ecstasy and in the search for organicism ( we shall see how these two concepts incorporate the idea of pathos , which , in any case , is not pecu- liar to Eisenstein ) . Once again , I do not claim to be definitive or ...
Seite 47
... 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 with montage , to have survived ...
... 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 with montage , to have survived ...
Seite 62
... concept of mon- tage , this involves a highly mediated discourse , figuring itself forth in self - conscious construction , which sets it quite apart from what is com- monly understood by associational montage . 22 The grounding of ...
... concept of mon- tage , this involves a highly mediated discourse , figuring itself forth in self - conscious construction , which sets it quite apart from what is com- monly understood by associational montage . 22 The grounding of ...
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