Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
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Seite 83
... Nature , which could not be more orthodox . From Engels's theses Eisenstein retains this potent idea : that nature is governed by laws whose essence is dialectical ; and especially that in dialectical nature , transformations do not ...
... Nature , which could not be more orthodox . From Engels's theses Eisenstein retains this potent idea : that nature is governed by laws whose essence is dialectical ; and especially that in dialectical nature , transformations do not ...
Seite 84
... nature , a nature endowed with corporeality and with laws which are themselves organic , should be so strongly represented as Mother Nature - this Great Whole in which the spectator , the film , and Eisenstein all participate , and in ...
... nature , a nature endowed with corporeality and with laws which are themselves organic , should be so strongly represented as Mother Nature - this Great Whole in which the spectator , the film , and Eisenstein all participate , and in ...
Seite 98
... nature and in particular human nature continues to be present in the very laws of architectural proportions [ ... ] It is certainly not concrete representation , but the correlation between the proportions of the phenomenon represented ...
... nature and in particular human nature continues to be present in the very laws of architectural proportions [ ... ] It is certainly not concrete representation , but the correlation between the proportions of the phenomenon represented ...
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