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Seite 96
You've said that the sphinx is the voice of repressed femininity . But the voice - off in the film has so many different types of discourse . LM : We wanted the discourse of the Sphinx at the beginning of the film to evoke contradictory ...
You've said that the sphinx is the voice of repressed femininity . But the voice - off in the film has so many different types of discourse . LM : We wanted the discourse of the Sphinx at the beginning of the film to evoke contradictory ...
Seite 114
As a textual strategy , this narrative voice works the film in several ways . The voice - off utilizes different narrative registers to enunciate concerns relevant to the politics of the unconscious : As the fictional ' author ' " Laura ...
As a textual strategy , this narrative voice works the film in several ways . The voice - off utilizes different narrative registers to enunciate concerns relevant to the politics of the unconscious : As the fictional ' author ' " Laura ...
Seite 115
and then the voice - off is submerged beneath the synchronous sound track , worked to coincide with the pragmatic political discussions of the women in the ' narrative . ' Another narrative register of this voice then poses questions in ...
and then the voice - off is submerged beneath the synchronous sound track , worked to coincide with the pragmatic political discussions of the women in the ' narrative . ' Another narrative register of this voice then poses questions in ...
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Inhalt
BERKELEY JOURNAL FOR THEORETICAL STUDIES IN MEDIA AND CULTURE | 3 |
The Order of Cinematographic Discourse | 39 |
Jürgen Habermas and the | 59 |
Urheberrecht | |
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according action activity actually analysis apparatus appear articulation become castration child cinema communication complex concept consciousness constitute construction Critical culture day-care definition desire diegesis discourse distinction dominant enunciation example exclusion existence expression fact feminine feminist fetishism fiction film forces forms Foucault Freud function Habermas Habermas's human identification ideology Imaginary important instance interest involved issue it's kind knowledge labor language Laura linguistic Louise Marx Marxism material means mirror mother narrative nature notion object original person Philosophy political position possible practical precise present primary problem production psychoanalysis question reason reference relation relationship remains representation Riddles secondary seems sense signifier situation social society space speak specific spectator speech sphinx structure Symbolic Theory things thought truth unconscious understanding University voice woman women