Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 4-6Wayne State University Press, 1976 |
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Seite 64
... marked most obviously by the repeated presentation of her image in static shots as if she were posing for the camera and the spectator , even when these shots are of her " looking . " This is the presentation of the image that should ...
... marked most obviously by the repeated presentation of her image in static shots as if she were posing for the camera and the spectator , even when these shots are of her " looking . " This is the presentation of the image that should ...
Seite 45
... marked the history of the publication of Eistenstein's writings should be taken to task . Since they have been published in a hyper - fragmentary and hyper - incomplete manner , and given his propensity for defining the words and ...
... marked the history of the publication of Eistenstein's writings should be taken to task . Since they have been published in a hyper - fragmentary and hyper - incomplete manner , and given his propensity for defining the words and ...
Seite 125
... marked ( and , let there be no doubt about it , each one of which could certainly be justified in terms of the meaning . It is very easy to imagine Eisenstein explaining to his students the why's and wherefore's of each gesture ) ...
... marked ( and , let there be no doubt about it , each one of which could certainly be justified in terms of the meaning . It is very easy to imagine Eisenstein explaining to his students the why's and wherefore's of each gesture ) ...
Inhalt
feminist cultural production including questions of language | 3 |
Casual Imagination | 4 |
On Sarah Kofmans LEnigme de la Femme | 32 |
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Achternbusch Alexander Kluge analysis Anastasia Artscribe aut-aut avant-garde becomes birds body Cahiers du cinéma camera castrated woman character child Christian Metz close-up concept construction contradiction critical critique cultural department store dialectic diegetic discourse effect Eisenstein Eisensteinian Euphrosinia experience fact Fassbinder fear female feminine feminism feminist fetishism fiction film film's filmmakers flâneur fragment frame Freud function Germany in Autumn Helke Sander Herbert Achternbusch idea identification ideological Ivan Ivan's Kluge Kofman Lacan look male desire Marxism meaning Melanie Melanie's ment metaphor Milena Mitch montage mother narrative narrator nature notion object Oedipal Oedipal complex organicism penis envy phallus political practice produce psychoanalysis public sphere question rationality relation relationship represent representation role Roswitha Sander Sarah Kofman scene sequence sexual shot signifier social space specific spectator Subjective Factor symbolic takes theoretical theory tion trans transformation Ulrike Ottinger viewer visual women words