Discourse, Ausgaben 5-8 |
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Seite 31
... play ( Alex's memory drama ) confronts the audience with the play's question . The scar that identifies her , for Alex and for us , like the snakebite scars on the bodies of the Moroccan snake charmers , like the surgical modifications ...
... play ( Alex's memory drama ) confronts the audience with the play's question . The scar that identifies her , for Alex and for us , like the snakebite scars on the bodies of the Moroccan snake charmers , like the surgical modifications ...
Seite 75
... play in Buenos Aires is me , the ego . We pretend to turn our backs to Latin America in order to face Europe . What could be more natural ? When it comes down to it , doesn't the child try - worried , hopeful - to catch the father's eye ...
... play in Buenos Aires is me , the ego . We pretend to turn our backs to Latin America in order to face Europe . What could be more natural ? When it comes down to it , doesn't the child try - worried , hopeful - to catch the father's eye ...
Seite 108
... play of textuality . One such instance is the upside down image of a lake in the Japanese garden , where the reflection / mirror image is right side up and the “ real ” invert- ed . This is simple play with sameness and difference ( or ...
... play of textuality . One such instance is the upside down image of a lake in the Japanese garden , where the reflection / mirror image is right side up and the “ real ” invert- ed . This is simple play with sameness and difference ( or ...
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