Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 17,Ausgabe 31995 |
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Seite 86
... shot ( or gaze by our ideal observer ) which might reveal it . The system of succes- sive shots in the edited film then merely records different parts of that preexisting landscape . A prior , knowable spatial continuum gets sliced up ...
... shot ( or gaze by our ideal observer ) which might reveal it . The system of succes- sive shots in the edited film then merely records different parts of that preexisting landscape . A prior , knowable spatial continuum gets sliced up ...
Seite 88
... shot to shot . We can lose track of where this or that closeup is supposed to be at any given time . If settings are altered from shot to shot and if the editing cheats or elides , even the ideal observer might have difficulty getting ...
... shot to shot . We can lose track of where this or that closeup is supposed to be at any given time . If settings are altered from shot to shot and if the editing cheats or elides , even the ideal observer might have difficulty getting ...
Seite 89
... shot or even a clearly defined 180 - degree arc of action . We actually see only one corner of the apartment through the accumulation of shots ( figure 1 ) , and cues from other scenes and schemata from our 360 - degree experi- ence ...
... shot or even a clearly defined 180 - degree arc of action . We actually see only one corner of the apartment through the accumulation of shots ( figure 1 ) , and cues from other scenes and schemata from our 360 - degree experi- ence ...
Inhalt
Views from the PostFutureSoviet Eastern European Cinema | 3 |
Jewish Identity in PostCommunist Hungarian Cinema | 24 |
Why Stalinist Musicals? | 38 |
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