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Seite 52
of the notion of “ fracture ” or “ infraction ” ' ) that the fragment is again defined according to a dimension which could be called transversal . The metaphor of perpendicularity is meant to indicate that , if the horizontal and ...
of the notion of “ fracture ” or “ infraction ” ' ) that the fragment is again defined according to a dimension which could be called transversal . The metaphor of perpendicularity is meant to indicate that , if the horizontal and ...
Seite 62
I am referring , of course , to the theory of the conditioned reflex , which Eisenstein called “ reflexology , " that theory which believed it possible to account for all the activity of the human brain ( thought and also “ feelings ...
I am referring , of course , to the theory of the conditioned reflex , which Eisenstein called “ reflexology , " that theory which believed it possible to account for all the activity of the human brain ( thought and also “ feelings ...
Seite 4
Since the social gest was of central importance to him , he believed a story line , the so - called fable , to be indispensable . Although Brechtian film practice was cut short by the political developments in the thirties ...
Since the social gest was of central importance to him , he believed a story line , the so - called fable , to be indispensable . Although Brechtian film practice was cut short by the political developments in the thirties ...
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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