Discourse, Bände 5-81987 |
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Seite 46
... given place and time , owes its importance to montage , and more precisely to a certain conception of montage as fragmentation ( mangling , as it has sometimes been termed pejoratively ) . There can be no question of attributing this ...
... given place and time , owes its importance to montage , and more precisely to a certain conception of montage as fragmentation ( mangling , as it has sometimes been termed pejoratively ) . There can be no question of attributing this ...
Seite 115
... given form of montage ) , in relation to the classical economy of representation , it is inscribed as a permanent danger , that of the elimination of depth , of the loss of recognition : Thus , if we are interested in the close - up ...
... given form of montage ) , in relation to the classical economy of representation , it is inscribed as a permanent danger , that of the elimination of depth , of the loss of recognition : Thus , if we are interested in the close - up ...
Seite 16
... given to the silencers . Thus , no invitation is declined except in particu- lar circumstances where we feel it is necessary to do so for our own well - being . What does it matter who the sponsor is ? Every opportunity is fitted for ...
... given to the silencers . Thus , no invitation is declined except in particu- lar circumstances where we feel it is necessary to do so for our own well - being . What does it matter who the sponsor is ? Every opportunity is fitted for ...
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