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Seite 63
Of the reference to Marxism - Leninism is not specific to Eisenstein - there is scarcely a revolutionary artist , especially in the twenties , who did not attempt to envisage his work and those to whom it was addressed in terms of class ...
Of the reference to Marxism - Leninism is not specific to Eisenstein - there is scarcely a revolutionary artist , especially in the twenties , who did not attempt to envisage his work and those to whom it was addressed in terms of class ...
Seite 16
The Subjective Factor reveals through this complex antithesis the sexual differences at the center of Marxism . It also indicates what happens to those differences when the women de - activate their subjectivity within the discourse of ...
The Subjective Factor reveals through this complex antithesis the sexual differences at the center of Marxism . It also indicates what happens to those differences when the women de - activate their subjectivity within the discourse of ...
Seite 30
... and stripped in the process of any feminist meaning : apparently the SDS theoretician Bernd Rabehl based his argument for the possibility of a peaceful coexistence of Marxism and anarchy on the relationship between the Jeanne Moreau ...
... and stripped in the process of any feminist meaning : apparently the SDS theoretician Bernd Rabehl based his argument for the possibility of a peaceful coexistence of Marxism and anarchy on the relationship between the Jeanne Moreau ...
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Inhalt
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
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Algiers appears become body Buenos Aires called camera character cinema close comes concept construction context course critical culture defined desire dialectical diegesis difference discourse dominant effect Eisenstein example existence experience expression eyes face fact feel female feminist fiction figure film filmmakers finally fragment frame function German given gives hand idea identity important issue Ivan kind Kluge language least less live look male marked Marxism meaning montage move movement narrative nature never object once opposition particular play political position possible practice precisely present problem produce question reference relation relationship remains representation represented scene seems seen sense sequence sexual shot social society sound space speak specific spectator speech story structure symbolic theory things tion turn voice whole woman women writing