Discourse, Bände 5-81987 |
Im Buch
Ergebnisse 1-3 von 81
Seite 56
... produce right down to the slightest bit of image consciously ( knowing how it was made , and , why not [ see below ] , what effect it will produce ) -all of this is obviously the clearest expression , in the theoretical realm , of the ...
... produce right down to the slightest bit of image consciously ( knowing how it was made , and , why not [ see below ] , what effect it will produce ) -all of this is obviously the clearest expression , in the theoretical realm , of the ...
Seite 127
... produces one of the possible metaphors of the face of Anastasia ( in this sequence and in the entire film ) , that of the Virgin , or the Saint . From 4 to 5 , moreover , the mode of passage remains analogous , in order to produce a ...
... produces one of the possible metaphors of the face of Anastasia ( in this sequence and in the entire film ) , that of the Virgin , or the Saint . From 4 to 5 , moreover , the mode of passage remains analogous , in order to produce a ...
Seite 49
... produce a film about the events , the official hysteria , and the public wil- lingness to be manipulated that they saw unfolding immediately in front of them . Needless to say , the highly subsidized West German film industry was ...
... produce a film about the events , the official hysteria , and the public wil- lingness to be manipulated that they saw unfolding immediately in front of them . Needless to say , the highly subsidized West German film industry was ...
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