Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
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Seite 83
... dominant over the Imaginary . However confused we may be about our actual relationship to the Real , and however ... dominance in our social , economic and ecological relations.3 It is clear that Wilden feels not only that his ...
... dominant over the Imaginary . However confused we may be about our actual relationship to the Real , and however ... dominance in our social , economic and ecological relations.3 It is clear that Wilden feels not only that his ...
Seite 86
... dominant order of production whose very breath and " vulgarity " ensures an easily purchased erotic charge . Unless that pleasure and fascination can be systematically addressed the exchanges will continue much as they always have ...
... dominant order of production whose very breath and " vulgarity " ensures an easily purchased erotic charge . Unless that pleasure and fascination can be systematically addressed the exchanges will continue much as they always have ...
Seite 87
... dominant to this day and which has historically nourished many dominant attitudes toward mass culture and the production and reception of signs . Even McLuhan , correctly per- ceived as an apostle of electronic communication , has his ...
... dominant to this day and which has historically nourished many dominant attitudes toward mass culture and the production and reception of signs . Even McLuhan , correctly per- ceived as an apostle of electronic communication , has his ...
Inhalt
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Urheberrecht | |
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Achternbusch Alexander Kluge Anastasia avant-garde become body Buenos Aires Cahiers du cinéma camera character cinema concept context contradiction critical critique cultural cybernetic cyborg desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation essay example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Germany in Autumn Godard Helke Sander Herbert Achternbusch human identity ideological imaginary India Cabaret Ivan Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor mode montage movement narrative narrator notion nuclear Oedipal opposition political position postmodern precisely present produce question relation relationship representation represented Sander scene sense sequence sexual difference shot signifier social space speak spectator speech story structure Subjective Factor symbolic tango theoretical tion tive traditional trans viewer visual voice whole woman women word writing