Discourse, Bände 5-81987 |
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Ergebnisse 1-3 von 78
Seite 47
... course , only as the sum of its definitions , of its " dimensions " ) , we shall define a vertical dimension of the fragment ( and our inspiration here is provided by the famous diagrams in which the Nevsky sequence is described in ...
... course , only as the sum of its definitions , of its " dimensions " ) , we shall define a vertical dimension of the fragment ( and our inspiration here is provided by the famous diagrams in which the Nevsky sequence is described in ...
Seite 80
... course , always hope to orient it to suit one's desires ( and this is what Eisenstein does not fail to suggest ) . But it will nonetheless retain , as Eisenstein himself says , a " pre - formal " aspect , leading one to believe that it ...
... course , always hope to orient it to suit one's desires ( and this is what Eisenstein does not fail to suggest ) . But it will nonetheless retain , as Eisenstein himself says , a " pre - formal " aspect , leading one to believe that it ...
Seite 32
... course , the ubiquitous voice - over that directs our view of the images and transactions on the screen . The structure of the film is derived , not from any narrative progression or character development , but rather from the course ...
... course , the ubiquitous voice - over that directs our view of the images and transactions on the screen . The structure of the film is derived , not from any narrative progression or character development , but rather from the course ...
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