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Seite 41
33-34 ) 2 Eisenstein's watchword is this clearcut refusal of a theory “ cut off from life , " and of anything that might resemble a theory for theory's sake , as in the expression “ Art for Art's sake . " In the introduction to this ...
33-34 ) 2 Eisenstein's watchword is this clearcut refusal of a theory “ cut off from life , " and of anything that might resemble a theory for theory's sake , as in the expression “ Art for Art's sake . " In the introduction to this ...
Seite 45
Moreover , after several decades of groping experiment , outlines of something resembling " a " theory of the cinema - or at least a certain space , an area of film theory - is beginning to take shape . I am aware of all of this , and I ...
Moreover , after several decades of groping experiment , outlines of something resembling " a " theory of the cinema - or at least a certain space , an area of film theory - is beginning to take shape . I am aware of all of this , and I ...
Seite 82
Instead , of course , there is a deliberate break with the Lacanian terminological and conceptual apparatuses : in fact , the book makes a strong claim that recent theory of the subject in ...
Instead , of course , there is a deliberate break with the Lacanian terminological and conceptual apparatuses : in fact , the book makes a strong claim that recent theory of the subject in ...
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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