Im Buch
Ergebnisse 1-3 von 15
Seite 316
In Cinema 2 : The Time Image , Gilles Deleuze introduces the notion of the “ powers of the false ” in the creation of political cinema . 18 Deleuze uses the concept of falsification not only to illuminate how time " crystallizes " in ...
In Cinema 2 : The Time Image , Gilles Deleuze introduces the notion of the “ powers of the false ” in the creation of political cinema . 18 Deleuze uses the concept of falsification not only to illuminate how time " crystallizes " in ...
Seite 356
That Henri Bergson condemned the cinematic apparatus as a spatializing mechanism brandishing the hallmarks of habitual perception , quantitative time , and immobility had little bearing on Deleuze and his seminal cinema books , Cinema 1 ...
That Henri Bergson condemned the cinematic apparatus as a spatializing mechanism brandishing the hallmarks of habitual perception , quantitative time , and immobility had little bearing on Deleuze and his seminal cinema books , Cinema 1 ...
Seite 357
Like Deleuze before him , Sutton describes the crystal image as signaling the enduring existence of memory in the present and the past's force as an evolving , morphing register . Progressing further into the book , it becomes clear ...
Like Deleuze before him , Sutton describes the crystal image as signaling the enduring existence of memory in the present and the past's force as an evolving , morphing register . Progressing further into the book , it becomes clear ...
Was andere dazu sagen - Rezension schreiben
Es wurden keine Rezensionen gefunden.
Inhalt
Toward a New Ontology of Trauma | 285 |
Strange Days Indeed | 302 |
Cronenbergs Recent Men and Women | 321 |
Urheberrecht | |
3 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
action actual affect archive argues becomes body Brown castration Challenge character cinema clear colonial concept condition connection Cronenberg culture define Deleuze desire Discourse essay existence experience exposed exposure face fact Fall figure film film's final force forms French functions future grotesque History human individual Islam issue killed kind King language Lenny logic look Mace machine Marcuse meaning memory Michigan murder Nancy narrative natural Nikolai normal object photography played police political position possibility present problem production question racial recent recording reference relation relationship representation repressed scene seems sense sexual shared simply singular social space SQUID Strange Days structural suggest surveillance symbolic things tion Tradition trauma truth turn understand University Press violence wants woman Writing