Discourse, Ausgaben 5-8 |
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Seite 127
... face and shots of the two goblets ( + Basmanov's face ) , according to the classic " seeing / seen " technique . As everyone knows , that is one of the devices most frequently used by the classic cinema in order to reinforce imaginary ...
... face and shots of the two goblets ( + Basmanov's face ) , according to the classic " seeing / seen " technique . As everyone knows , that is one of the devices most frequently used by the classic cinema in order to reinforce imaginary ...
Seite 24
... face is reflected on the wall behind the stove , preterna- turally large . As Anni's voice - off asks " Do you know ... faces and upper bodies of Anni and a very young Andres fill the right half of the wall . Once again the faces are out ...
... face is reflected on the wall behind the stove , preterna- turally large . As Anni's voice - off asks " Do you know ... faces and upper bodies of Anni and a very young Andres fill the right half of the wall . Once again the faces are out ...
Seite 72
... face . Who knows what I would find underneath , if I were to peel it off ? Has the gypsy's face decayed with time ? If I were to fling off my mask would I find that I had no face at all ? -Ghādā al - Sammān " Ghajariyya Bila Mafa ...
... face . Who knows what I would find underneath , if I were to peel it off ? Has the gypsy's face decayed with time ? If I were to fling off my mask would I find that I had no face at all ? -Ghādā al - Sammān " Ghajariyya Bila Mafa ...
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