Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Ausgaben 6-9Indiana University Press, 1979 |
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Seite 98
... close the cinema actually is , in Achternbusch's conception , to a perpetual quest for an almost pre - Oedipal undifferentiation could be argued from many passages of his writings , which in turn , success- fully merge with filming and ...
... close the cinema actually is , in Achternbusch's conception , to a perpetual quest for an almost pre - Oedipal undifferentiation could be argued from many passages of his writings , which in turn , success- fully merge with filming and ...
Seite 71
... close to feeling that I will never understand the tears . Might as well give up . I am still bothered though . I nag myself . After all what picture do I have of my own body ? I feel the internal , but can only touch the external . I ...
... close to feeling that I will never understand the tears . Might as well give up . I am still bothered though . I nag myself . After all what picture do I have of my own body ? I feel the internal , but can only touch the external . I ...
Seite 119
... close the Salle des Etats , the perfor- mances continued under tremendous tension only to be ex- tended in the arena of the street when the artists were met by waiting police . This charged example suggests the implications of regulat ...
... close the Salle des Etats , the perfor- mances continued under tremendous tension only to be ex- tended in the arena of the street when the artists were met by waiting police . This charged example suggests the implications of regulat ...
Inhalt
About Our Contributors | 3 |
Helke Sander and the Will to Change | 10 |
The Power of the Narrator in Modernist | 31 |
Urheberrecht | |
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Achternbusch Algiers American appears become body Buenos Aires called camera character cinema close comes communication completely concerned construction context critical cultural death desire diegesis discourse discussion dominant effect example existence experience eyes fact feel female feminist fiction figure film filmmakers function gaze German give hand human identity imaginary issue Kluge language less literature live look male Marxism material meaning memory mode move movement narrative narrator nature never nuclear object opposition organism performance person play political position possible postmodern practice present problem production provides question referent relation relationship remains represent representation seems seen sense separation sexual situation social sound space speak spectator speech story structure suggests symbolic theory tion traditional turn University voice whole woman women writing York