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Seite 8
21 Marker turns to the overexposed , blurry fragments from Sergei Eisenstein's Battleship Potemkin ( 1925 ) , incorporating Eisenstein's footage and transforming it into his film essay's organizing principle . The Eisenstein film — the ...
21 Marker turns to the overexposed , blurry fragments from Sergei Eisenstein's Battleship Potemkin ( 1925 ) , incorporating Eisenstein's footage and transforming it into his film essay's organizing principle . The Eisenstein film — the ...
Seite 10
As A Grin Without a Cat reconstructs its moment ( as film essay ) , it reenacts Battleship Potemkin in such a way that relates both to cinematic form and to politics . Cinematic form , as such , obeys the logic of a certain kind of ...
As A Grin Without a Cat reconstructs its moment ( as film essay ) , it reenacts Battleship Potemkin in such a way that relates both to cinematic form and to politics . Cinematic form , as such , obeys the logic of a certain kind of ...
Seite 47
It was also this hope that led him , in the original version of this essay , to compare the medium's promise of a “ vision of unmediated reality ” to “ the Blue flower in the land of technology : " 47 This vision should not be thought ...
It was also this hope that led him , in the original version of this essay , to compare the medium's promise of a “ vision of unmediated reality ” to “ the Blue flower in the land of technology : " 47 This vision should not be thought ...
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Inhalt
Spinoza Deleuze and Carlos Reygadass | 27 |
Sketches of Contemporary Labor | 55 |
The Tragic Voyage to a Postmodern | 75 |
Urheberrecht | |
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