Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
Im Buch
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Seite 15
Berkeley Journal for Theoretical Studies in Media and Culture. third - person voice - over has also traditionally spoken without seeming to address anyone in particular - to emanate from “ on high . " 8 The third - person voice in The ...
Berkeley Journal for Theoretical Studies in Media and Culture. third - person voice - over has also traditionally spoken without seeming to address anyone in particular - to emanate from “ on high . " 8 The third - person voice in The ...
Seite 52
... voice introduces an important nuance into the theory of filmic sound ( and of filmic representation in general ) : questioning the voice takes us further than the usual consideration of ' two types of space ' , 26 to an examination of ...
... voice introduces an important nuance into the theory of filmic sound ( and of filmic representation in general ) : questioning the voice takes us further than the usual consideration of ' two types of space ' , 26 to an examination of ...
Seite 53
Berkeley Journal for Theoretical Studies in Media and Culture. physical characteristics of the voice , makes the voice almost palpa- ble ; in imaginary terms , it reinforces the voice's omnipotence , its power by divine right . Naturally ...
Berkeley Journal for Theoretical Studies in Media and Culture. physical characteristics of the voice , makes the voice almost palpa- ble ; in imaginary terms , it reinforces the voice's omnipotence , its power by divine right . Naturally ...
Inhalt
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
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