Discourse, Ausgaben 5-8 |
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Seite 139
... Eyes right ... eyes left . ' Some superficial people , who had nothing to do with the film and who happened to be present during the shooting , made fun of this , saying , ' So that's Eisenstein's method of working with actors - ' Eyes ...
... Eyes right ... eyes left . ' Some superficial people , who had nothing to do with the film and who happened to be present during the shooting , made fun of this , saying , ' So that's Eisenstein's method of working with actors - ' Eyes ...
Seite 40
... eyes beheld the permanent spectacle of an exteriority composed entirely of pomp , furor , cavalcades , and rapid movement . But when he went from Morocco to Algeria , Delacroix at the same time crossed a subtle frontier , one which ...
... eyes beheld the permanent spectacle of an exteriority composed entirely of pomp , furor , cavalcades , and rapid movement . But when he went from Morocco to Algeria , Delacroix at the same time crossed a subtle frontier , one which ...
Seite 46
... eyes wear a contracted look . out Dialectal Arabic transcribes the experience in significant fa- shion : " I no longer go out protected “ ( that is , veiled , covered up ) . The woman who has freed herself of the veil will say , " I go ...
... eyes wear a contracted look . out Dialectal Arabic transcribes the experience in significant fa- shion : " I no longer go out protected “ ( that is , veiled , covered up ) . The woman who has freed herself of the veil will say , " I go ...
Inhalt
BERKELEY JOURNAL FOR THEORETICAL STUDIES IN MEDIA AND CULTURE | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
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