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Seite 112
... 26 , 32 , 38 ) , making a " political " speech completely out of place with respect to the reality of the scene being enacted before our eyes - in a word , Ivan is in the grip of a symptom whose truth is pronounced by Anastasia .
... 26 , 32 , 38 ) , making a " political " speech completely out of place with respect to the reality of the scene being enacted before our eyes - in a word , Ivan is in the grip of a symptom whose truth is pronounced by Anastasia .
Seite 136
... principal vectors of a process of overdetermination of the manifest scene ( that of politics - maneuverings of strategies around power ) by the other scene , the one in which the repressed erotic content is at work .
... principal vectors of a process of overdetermination of the manifest scene ( that of politics - maneuverings of strategies around power ) by the other scene , the one in which the repressed erotic content is at work .
Seite 104
Almost at random , a scene from Servus Bayern ( 1978 ) comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera ...
Almost at random , a scene from Servus Bayern ( 1978 ) comes to mind . As so often in his films , a woman ( Annamirl Bierbichler ) starts haranguing Herbert in a long , almost static take , directly addressing him , but into the camera ...
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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