Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
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Seite 71
... seen or thought I have seen . But I also remember so little of what I have seen . Those images race by . I try to imagine my heart beating and I am rocked by the image of my friend dying . I open my eyes but the room looks different ...
... seen or thought I have seen . But I also remember so little of what I have seen . Those images race by . I try to imagine my heart beating and I am rocked by the image of my friend dying . I open my eyes but the room looks different ...
Seite 90
... seen as characteristic in their concern with high culture , their way of dealing with degraded forms ( film or television ) is to bring them immediately within the domain of the spiritual : even these lowly examples can also contribute ...
... seen as characteristic in their concern with high culture , their way of dealing with degraded forms ( film or television ) is to bring them immediately within the domain of the spiritual : even these lowly examples can also contribute ...
Seite 74
... seen , has heard . . . . You know what follows . No doubt one could ask plenty of troubling questions about this chain of desire . In reality , aren't the men of Buenos Aires linked ... to each other ? What is the goal of this game , so ...
... seen , has heard . . . . You know what follows . No doubt one could ask plenty of troubling questions about this chain of desire . In reality , aren't the men of Buenos Aires linked ... to each other ? What is the goal of this game , so ...
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