Discourse, Ausgaben 5-8 |
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Seite 99
... movement . Plekhanov has already said that in the last analysis all phenomena could be reduced to movement . It is movement which will reveal to us all the deepest levels of internal synchronization , which can be determined ...
... movement . Plekhanov has already said that in the last analysis all phenomena could be reduced to movement . It is movement which will reveal to us all the deepest levels of internal synchronization , which can be determined ...
Seite 127
... movement of the accent . In the movement from the icon shown in close - up ( in the abstract , so to speak ) in shot 2 , to the same subject in shot 3 , shown this time in a real decor by the gently swaying light of the lamps , the ...
... movement of the accent . In the movement from the icon shown in close - up ( in the abstract , so to speak ) in shot 2 , to the same subject in shot 3 , shown this time in a real decor by the gently swaying light of the lamps , the ...
Seite 11
... movement , but one which affords a rather different view of that movement than that provided by existing histories2 - different because Sander's close - up of its domestic economy foregrounds rela- tions which are not recognized by ...
... movement , but one which affords a rather different view of that movement than that provided by existing histories2 - different because Sander's close - up of its domestic economy foregrounds rela- tions which are not recognized by ...
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