Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Ausgaben 6-9Indiana University Press, 1979 |
Im Buch
Ergebnisse 1-3 von 49
Seite 104
... 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 , and therefore addressing us with words whose poetic ...
... 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 , and therefore addressing us with words whose poetic ...
Seite 71
... comes to us indirectly - there is no transparence to the process . It is not of time , not of history— because ... come close to feeling that I will never understand the tears . Might as well give up . I am still bothered though . I nag ...
... comes to us indirectly - there is no transparence to the process . It is not of time , not of history— because ... come close to feeling that I will never understand the tears . Might as well give up . I am still bothered though . I nag ...
Seite 74
... comes a third man who has seen , has heard . . . . You know what follows . No doubt one could ask plenty of troubling questions about this chain of desire . In reality , aren't the men of Buenos Aires linked ... to each other ? What is ...
... comes a third man who has seen , has heard . . . . You know what follows . No doubt one could ask plenty of troubling questions about this chain of desire . In reality , aren't the men of Buenos Aires linked ... to each other ? What is ...
Inhalt
About Our Contributors | 3 |
Helke Sander and the Will to Change | 10 |
The Power of the Narrator in Modernist | 31 |
Urheberrecht | |
3 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
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