Discourse, Bände 1-4Indiana University Press, 1979 |
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... fiction- making can be seen as an oscillation of belief / disbelief , how do you differentiate fiction in the cinema from fiction in the theater ? M : The difference lies , I think , in the balance of forces between the two aspects of ...
... fiction- making can be seen as an oscillation of belief / disbelief , how do you differentiate fiction in the cinema from fiction in the theater ? M : The difference lies , I think , in the balance of forces between the two aspects of ...
Seite
... fiction because " it doesn't have to be checked . " . Q : In the case of cinema , is not the process of identification affected in a similar fashion when the spectators assume that they are viewing some version of social reality in the ...
... fiction because " it doesn't have to be checked . " . Q : In the case of cinema , is not the process of identification affected in a similar fashion when the spectators assume that they are viewing some version of social reality in the ...
Seite 5
... fiction , his attempt to define formal genre categories leads him to separate this continuum into a sharp dichotomy . The claim is that naturalist fiction portrays the Same ( author's empirical environment ) by the Same ( " exact ...
... fiction , his attempt to define formal genre categories leads him to separate this continuum into a sharp dichotomy . The claim is that naturalist fiction portrays the Same ( author's empirical environment ) by the Same ( " exact ...
Inhalt
Editorial D611 3 | |
The Order of Cinematographic Discourse 39 | |
Jürgen Habermas and the 59 | |
Urheberrecht | |
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