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Seite 64
More precisely , it is like the momentary manifestation of that problem and , moreover , an ephemeral manifestation since , as is known , the concept of it was abandoned from one day to the next . The feature of attraction which causes ...
More precisely , it is like the momentary manifestation of that problem and , moreover , an ephemeral manifestation since , as is known , the concept of it was abandoned from one day to the next . The feature of attraction which causes ...
Seite 43
At last , the problem of the film / spectator relationship . ... on Freudian vocabulary and Lacanian formalization , this description , to which an abundant literature has been devoted , raises perhaps more problems than it solves .
At last , the problem of the film / spectator relationship . ... on Freudian vocabulary and Lacanian formalization , this description , to which an abundant literature has been devoted , raises perhaps more problems than it solves .
Seite 20
... seeing the similarities with how men have excluded the participation of women in their work through Roberts Rules of Order , encouraging us to set up subcommittees to discuss our problems but never seeing sexism as their problem .
... seeing the similarities with how men have excluded the participation of women in their work through Roberts Rules of Order , encouraging us to set up subcommittees to discuss our problems but never seeing sexism as their problem .
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Inhalt
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
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Algiers appears become body Buenos Aires called camera character cinema close comes concept construction context course critical culture defined desire dialectical diegesis difference discourse dominant effect Eisenstein example existence experience expression eyes face fact feel female feminist fiction figure film filmmakers finally fragment frame function German given gives hand idea identity important issue Ivan kind Kluge language least less live look male marked Marxism meaning montage move movement narrative nature never object once opposition particular play political position possible practice precisely present problem produce question reference relation relationship remains representation represented scene seems seen sense sequence sexual shot social society sound space speak specific spectator speech story structure symbolic theory things tion turn voice whole woman women writing