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M : If the film has a very precise , political , immediate aim ; if the filmmaker shoots a film in order to support a given strike , for example , and if the film actually supports the strike ... what could I say ?
M : If the film has a very precise , political , immediate aim ; if the filmmaker shoots a film in order to support a given strike , for example , and if the film actually supports the strike ... what could I say ?
Seite 114
Our textual discussion has taken up the material of extracinematic codes and has attempted to see both how the filmmaker understands these elements to be coordinated , and how they work in the film to produce its textual effects .
Our textual discussion has taken up the material of extracinematic codes and has attempted to see both how the filmmaker understands these elements to be coordinated , and how they work in the film to produce its textual effects .
Seite 64
FILM IS THE MOST IMPORTANT art form which the democratic 20th century has produced . It is the darling of the age of the masses , an age which has both been reviled and heralded as progressive . If this is true , then art , as it is ...
FILM IS THE MOST IMPORTANT art form which the democratic 20th century has produced . It is the darling of the age of the masses , an age which has both been reviled and heralded as progressive . If this is true , then art , as it is ...
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Inhalt
Editorial | 3 |
The Order of Cinematographic Discourse | 39 |
Jürgen Habermas and the | 59 |
Urheberrecht | |
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Bibliografische Informationen
| Titel | Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Ausgaben 1-5 |
| Mitwirkende Personen | University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Verlag | Indiana University Press, 1979 |
| Original von | University of Illinois in Urbana-Champaign |
| Digitalisiert | 4. März 2011 |
| Zitat exportieren | BiBTeX EndNote RefMan |