Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
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Seite 100
... sequence ” a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part 1 and Part 2 , and their difference . Eisenstein himself specifically designated the sequence of the lamentations over ...
... sequence ” a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part 1 and Part 2 , and their difference . Eisenstein himself specifically designated the sequence of the lamentations over ...
Seite 140
... sequence , and , secondly , on the fact that the themes of the sequence can be carried , according to the moment , by any given expressive means , in particular by the music and the color . ( " When the theme intersects with the ...
... sequence , and , secondly , on the fact that the themes of the sequence can be carried , according to the moment , by any given expressive means , in particular by the music and the color . ( " When the theme intersects with the ...
Seite 23
... sequence toward the end of The Subjective Factor . That sequence begins with a long take around the walls of a room filled with posters , most of which feature male revolutionaries ( the only exceptions are two cinematic " fictions ...
... sequence toward the end of The Subjective Factor . That sequence begins with a long take around the walls of a room filled with posters , most of which feature male revolutionaries ( the only exceptions are two cinematic " fictions ...
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