Discourse, Ausgaben 5-8 |
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Seite 42
... Diegesis and referent , or the question of the relationships be- tween film and reality . As defined by Souriau in the late forties , and much elaborated by such scholars as Dominique Château , 1 the con- cept of diegesis involves the ...
... Diegesis and referent , or the question of the relationships be- tween film and reality . As defined by Souriau in the late forties , and much elaborated by such scholars as Dominique Château , 1 the con- cept of diegesis involves the ...
Seite 48
... diegesis and the enunciation . Of course , it should be clear that the very notion of ' diegesis ' is not absolutely relevant here , not so much because of the complexity of this embedding of sequences within each other ( after all ...
... diegesis and the enunciation . Of course , it should be clear that the very notion of ' diegesis ' is not absolutely relevant here , not so much because of the complexity of this embedding of sequences within each other ( after all ...
Seite 105
... diegesis is charged with producing the reality effect both iconically and by enhancing the spectator's hallucinated presence on the scene aurally and visually . In the latter example , the diegesis is itself fractured , multiple and ...
... diegesis is charged with producing the reality effect both iconically and by enhancing the spectator's hallucinated presence on the scene aurally and visually . In the latter example , the diegesis is itself fractured , multiple and ...
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