Discourse, Bände 5-81987 |
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Seite 51
... precisely everything against which Eisenstein is struggling - the illusion of continuity and homogeneity , transparency ) , or rather , at the moment of the " jump " from one fragment to another . Concerning the productivity of the rela ...
... precisely everything against which Eisenstein is struggling - the illusion of continuity and homogeneity , transparency ) , or rather , at the moment of the " jump " from one fragment to another . Concerning the productivity of the rela ...
Seite 52
... precisely , its relationship to what it is made out of ( what is sometimes called the " profilmic " 12 ) . Here it is a question of shooting ( prise de vue ) -and the characteristic of the Eisensteinian frag- ment is here , precisely ...
... precisely , its relationship to what it is made out of ( what is sometimes called the " profilmic " 12 ) . Here it is a question of shooting ( prise de vue ) -and the characteristic of the Eisensteinian frag- ment is here , precisely ...
Seite 91
... precisely the meaning which , in our interpre- tation , is also found at the basis of the universal movement . It is precisely this curve which signifies , figuratively , the passage into the opposite . ( " Organicism and Imaginicity ...
... precisely the meaning which , in our interpre- tation , is also found at the basis of the universal movement . It is precisely this curve which signifies , figuratively , the passage into the opposite . ( " Organicism and Imaginicity ...
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