Im Buch
Ergebnisse 1-3 von 10
Seite 276
As he puts it : the world of the image is present to us , but we were never present to it . So it is nearness with a catch . The viewer does not attend the filming of the “ profilmic event , ” to use the parlance of cinema studies .
As he puts it : the world of the image is present to us , but we were never present to it . So it is nearness with a catch . The viewer does not attend the filming of the “ profilmic event , ” to use the parlance of cinema studies .
Seite 292
... mode of beingpresent , such that being present and the present of being does not coincide in itself , or with itself , inasmuch as it coincides or “ falls with ” ( tombe avec ) the other presence , which itself obeys the same law .
... mode of beingpresent , such that being present and the present of being does not coincide in itself , or with itself , inasmuch as it coincides or “ falls with ” ( tombe avec ) the other presence , which itself obeys the same law .
Seite 357
a treatment , rendering the past present of a “ still ” image alive , active , and unfinished . Photography , Cinema , Memory is constructed in an additive fashion , progressively building upon the concepts and images from previous ...
a treatment , rendering the past present of a “ still ” image alive , active , and unfinished . Photography , Cinema , Memory is constructed in an additive fashion , progressively building upon the concepts and images from previous ...
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
Bibliografische Informationen
| Titel | Discourse, Band 32,Ausgabe 3 |
| Mitwirkende | Herbert Blau, Ihab Hassan, Patricia Mellencamp, Patrice Petro, University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Veröffentlicht | 2010 |
| Original von | University of Wisconsin - Madison |
| Digitalisiert | 17. Juli 2017 |
| Zitat exportieren | BiBTeX EndNote RefMan |