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Seite 81
At the same time the director does not limit himself to “ high art ” and offers us a panorama of the mass kitsch of the era from Soviet post - Stalinist spectacles to Broadway extravaganzas ( as witnessed by Khrushchev ) .
At the same time the director does not limit himself to “ high art ” and offers us a panorama of the mass kitsch of the era from Soviet post - Stalinist spectacles to Broadway extravaganzas ( as witnessed by Khrushchev ) .
Seite 88
1 > 1 i 1 1 1 1 + 1 + fact that Pudovkin's style offers the opportunity for the space of the scene to become unstable from shot to shot . We can lose track of where this or that closeup is supposed to be at any given time .
1 > 1 i 1 1 1 1 + 1 + fact that Pudovkin's style offers the opportunity for the space of the scene to become unstable from shot to shot . We can lose track of where this or that closeup is supposed to be at any given time .
Seite 89
When the Wife first offers tea to her husband , it sustains a simple piece of screen business to remind us of the domestic experience and to provide the two characters a tender moment of reunion . Then the tea becomes a clue when the ...
When the Wife first offers tea to her husband , it sustains a simple piece of screen business to remind us of the domestic experience and to provide the two characters a tender moment of reunion . Then the tea becomes a clue when the ...
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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 |