Discourse, Ausgaben 5-8 |
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Seite 44
... objects , 11 and therefore , that our per- ception is informed ( or deformed ) by the symbolic values different cultures attach ... object reproduced which I can only compare ( mutatis mutan- dis ) to the presence of the actor's body on 44.
... objects , 11 and therefore , that our per- ception is informed ( or deformed ) by the symbolic values different cultures attach ... object reproduced which I can only compare ( mutatis mutan- dis ) to the presence of the actor's body on 44.
Seite 65
... object can really affect the drive , which is conceived as ' coming out ' from the subject . This in turn affects ... object , you speak about im- material objects but if you're really speaking then that's material as well . " J.-L ...
... object can really affect the drive , which is conceived as ' coming out ' from the subject . This in turn affects ... object , you speak about im- material objects but if you're really speaking then that's material as well . " J.-L ...
Seite 120
... object , and for many a crucial one , I have tried to produce a discourse that was neither assertive nor negative , nor neutral - a commentary whose tone would be : no comment . An assent ( a mode of language belonging to an ethic , and ...
... object , and for many a crucial one , I have tried to produce a discourse that was neither assertive nor negative , nor neutral - a commentary whose tone would be : no comment . An assent ( a mode of language belonging to an ethic , 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