Discourse, Bände 5-81987 |
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Seite 92
... possible , the quota- tions from Eisenstein are followed by references to both the Russian edition of his works ( referred to hereinafter as RW ) and to the French edition ( FW ) as well . In each case , the first figure following the ...
... possible , the quota- tions from Eisenstein are followed by references to both the Russian edition of his works ( referred to hereinafter as RW ) and to the French edition ( FW ) as well . In each case , the first figure following the ...
Seite 127
... possible modalities of this process of accentuation . There would be , in particular , at each passage from one shot to another , one or several elementary " correlations " which would produce a perpetual movement of the accent . In the ...
... possible modalities of this process of accentuation . There would be , in particular , at each passage from one shot to another , one or several elementary " correlations " which would produce a perpetual movement of the accent . In the ...
Seite 133
... possible a solution ( let us take that word literally , it is the moment when things are resolved or dissolved ) ... possible , as quickly as possible , that is even the prerequisite for every possible effectiveness in his system . ( That ...
... possible a solution ( let us take that word literally , it is the moment when things are resolved or dissolved ) ... possible , as quickly as possible , that is even the prerequisite for every possible effectiveness in his system . ( That ...
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