Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
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Seite 135
... position of the characters , nor a simple moral judgement about them , nor even about their political position - but something much more archetypal , which is superimposed on all these other meanings . Another example of this symbolic ...
... position of the characters , nor a simple moral judgement about them , nor even about their political position - but something much more archetypal , which is superimposed on all these other meanings . Another example of this symbolic ...
Seite 36
... position outside of history , as a kind of blank page , upon which such a collapse is written . The film is full of performances within the film , full of scenes structured by variations on the theme of woman as object of spectacle . 11 ...
... position outside of history , as a kind of blank page , upon which such a collapse is written . The film is full of performances within the film , full of scenes structured by variations on the theme of woman as object of spectacle . 11 ...
Seite 52
... position of the two ' narrators ' . First position in the paradigm : one of them , facing the camera , recites the fixed formula which effects the transition to the final section . This is a simple case of the perfect coalescence of ...
... position of the two ' narrators ' . First position in the paradigm : one of them , facing the camera , recites the fixed formula which effects the transition to the final section . This is a simple case of the perfect coalescence of ...
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