Discourse, Ausgaben 5-8 |
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Seite 113
... filmic representation aims to give the impression ) will in a way be split by this contradiction between a unifying principle and a principle of dissemination ( this will be seen in connection with the matches as well as in other ...
... filmic representation aims to give the impression ) will in a way be split by this contradiction between a unifying principle and a principle of dissemination ( this will be seen in connection with the matches as well as in other ...
Seite 43
... filmic analyses ) does in fact borrow little from these diverse theoretical frames , and is- if possible - even less unitary . My main concern has been with problems connected , to some degree , with the notion of view a notion ...
... filmic analyses ) does in fact borrow little from these diverse theoretical frames , and is- if possible - even less unitary . My main concern has been with problems connected , to some degree , with the notion of view a notion ...
Seite 109
... filmic signifiers had introduced into classical sound cinema practice . Whereas classical narrative , and even more so , television , divides the signifying materials at the level of pro- duction ( division of labour , the filmic ...
... filmic signifiers had introduced into classical sound cinema practice . Whereas classical narrative , and even more so , television , divides the signifying materials at the level of pro- duction ( division of labour , the filmic ...
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