Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 17,Ausgabe 31995 |
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Seite 89
... action . He builds up a limited sphere of action which can be reconciled with a spectator's sense of three dimensions , while simultaneously maintaining discrete zones which do not overlap and which may or may not be consistently ...
... action . He builds up a limited sphere of action which can be reconciled with a spectator's sense of three dimensions , while simultaneously maintaining discrete zones which do not overlap and which may or may not be consistently ...
Seite 104
... action in which the actors wind their way through the maze of furniture ; in the way the cinematic playing field is laid out around shifts between foreground , midground , and background . Three planes of action , in continuous movement ...
... action in which the actors wind their way through the maze of furniture ; in the way the cinematic playing field is laid out around shifts between foreground , midground , and background . Three planes of action , in continuous movement ...
Seite 111
... action better . ( Qtd . in Levaco 127 ) And this same formula was not limited to action films but worked within melodrama , as the Soviet film scholars noted . Soviet Formalist Adrian Piotrovsky ( 1898-1938 ) observed that the ...
... action better . ( Qtd . in Levaco 127 ) And this same formula was not limited to action films but worked within melodrama , as the Soviet film scholars noted . Soviet Formalist Adrian Piotrovsky ( 1898-1938 ) observed that the ...
Inhalt
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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