Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
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Seite 113
... function in narrative . It is always motivated , determined by an assertive , " faultless " logic . ( Example : In which direction will the aide de camp who has just taken Dessalines ' sabre away from him make his exit ? " He will take ...
... function in narrative . It is always motivated , determined by an assertive , " faultless " logic . ( Example : In which direction will the aide de camp who has just taken Dessalines ' sabre away from him make his exit ? " He will take ...
Seite 126
... function of an expressive order ( or , rather , a writing order ) . Thanks to the match , the cut is not reabsorbed in a cumulative scene , on the contrary , it is articulated from it to a greater degree ( used or conceived of as a ...
... function of an expressive order ( or , rather , a writing order ) . Thanks to the match , the cut is not reabsorbed in a cumulative scene , on the contrary , it is articulated from it to a greater degree ( used or conceived of as a ...
Seite 134
... function : The presence of Euphrosinia , of Basmanov , the " absences " of Maliouta , because they are partially arbi- trary , could be attributed to a certain effect of verisimilitude . It is shown to us this way , because that's the ...
... function : The presence of Euphrosinia , of Basmanov , the " absences " of Maliouta , because they are partially arbi- trary , could be attributed to a certain effect of verisimilitude . It is shown to us this way , because that's the ...
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