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Seite 50
In Carnival Night the situation is radicalized : we see heroes for whom amateur performance is work , a profession . They organize the carnival like people organize a theatrical production , a carnival in which there is no main carnival ...
In Carnival Night the situation is radicalized : we see heroes for whom amateur performance is work , a profession . They organize the carnival like people organize a theatrical production , a carnival in which there is no main carnival ...
Seite 56
This is why the " ego " of what Hegel calls the hero is real - life only as the " empty swelling of subjectivity . ... respectively — and all the other heroes are located in a different heroic space , but one that is related to satire .
This is why the " ego " of what Hegel calls the hero is real - life only as the " empty swelling of subjectivity . ... respectively — and all the other heroes are located in a different heroic space , but one that is related to satire .
Seite 64
The author was solicited to reveal “ what followed " : Why did he fail to depict the touching scene of the hero's reunion with his sweetheart whom the writer had ... What were the heroes of the heroic collective doing " now " ?
The author was solicited to reveal “ what followed " : Why did he fail to depict the touching scene of the hero's reunion with his sweetheart whom the writer had ... What were the heroes of the heroic collective doing " now " ?
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Inhalt
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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Bibliografische Informationen
| Titel | Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 17,Ausgabe 3 |
| Mitwirkende | Project Muse, JSTOR (Organization), University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Veröffentlicht | 1995 |
| Original von | University of Michigan |
| Digitalisiert | 25. Apr. 2008 |
| Zitat exportieren | BiBTeX EndNote RefMan |