Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
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Seite 114
... shots of the sequence ( according to whether or not they emphasize depth of field ) . At the two extremes one would find : ( 1 ) On one hand , general shots showing the whole " chamber " from a variety of angles ( the shot that is the ...
... shots of the sequence ( according to whether or not they emphasize depth of field ) . At the two extremes one would find : ( 1 ) On one hand , general shots showing the whole " chamber " from a variety of angles ( the shot that is the ...
Seite 123
... shots on Ivan are contrasted first with an extremely fragmented series of seven shots , in which the only movements are Anastasia's very slight head movements , then a single , brief ( 6 second ) shot marked on the contrary by an abrupt ...
... shots on Ivan are contrasted first with an extremely fragmented series of seven shots , in which the only movements are Anastasia's very slight head movements , then a single , brief ( 6 second ) shot marked on the contrary by an abrupt ...
Seite 132
... shot 43 , already mentioned , the moment when the death is decided , and in which the two of them share the shot ; but it is also shown in shot 13 , where Ivan has manifested his affection for ( his complicity with ) his aunt by an arm ...
... shot 43 , already mentioned , the moment when the death is decided , and in which the two of them share the shot ; but it is also shown in shot 13 , where Ivan has manifested his affection for ( his complicity with ) his aunt by an arm ...
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