Discourse, Bände 5-81987 |
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Seite 94
... close - up is inseparable for Eisenstein from that of montage and from that of the fragment and bears witness in addition to the fact that these latter two concepts function simultaneously in Eisensteinian theory . For Bon- itzer , the ...
... close - up is inseparable for Eisenstein from that of montage and from that of the fragment and bears witness in addition to the fact that these latter two concepts function simultaneously in Eisensteinian theory . For Bon- itzer , the ...
Seite 114
... close - ups , which can be categorized chiefly as either close - ups of faces ( Anastasia , 47 ; Basmanov , F ; Ivan and Basmanov , O ; Euphrosinia , 17 and 30 ) or as close - ups of objects ( the goblets , especially 40 and H , the ...
... close - ups , which can be categorized chiefly as either close - ups of faces ( Anastasia , 47 ; Basmanov , F ; Ivan and Basmanov , O ; Euphrosinia , 17 and 30 ) or as close - ups of objects ( the goblets , especially 40 and H , the ...
Seite 115
... close - up " ( as one might speak of a " principle of mon- tage " independently of any given form of montage ) , in relation to the classical economy of representation , it is inscribed as a permanent danger , that of the elimination of ...
... close - up " ( as one might speak of a " principle of mon- tage " independently of any given form of montage ) , in relation to the classical economy of representation , it is inscribed as a permanent danger , that of the elimination of ...
Inhalt
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
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Achternbusch Alexander Kluge Anastasia avant-garde body Buenos Aires Cabaret Cahiers du cinéma camera character classical concept context contradiction critical critique culture desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation Euphrosinia example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Cinema Germany in Autumn Godard Helke Sander Herbert Achternbusch idea identification identity ideological imaginary India Cabaret Indian Ivan Ivan's Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor Milena montage movement narrative narrator notion opposition organicism political Porteño position precisely present produce public sphere question relation relationship representation Roswitha scene sequence sexual difference shot signifier social sound space speak spectator speech story structure Subjective Factor symbolic tango television theme theoretical tion tive viewer visual voice voice-over woman women word writing