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Síða 26
the camera begins wide and hones into increasingly narrow spaces , finally to invade Marion's private chambers . In Invisible Adversaries , by contrast , the camera starts in the enclosed space of the bedroom and moves outwards to ...
the camera begins wide and hones into increasingly narrow spaces , finally to invade Marion's private chambers . In Invisible Adversaries , by contrast , the camera starts in the enclosed space of the bedroom and moves outwards to ...
Síða 27
rethink our typical response to the question of agency in relation to the visual realm , and suggests that the kind of mastery , which classically attaches itself to the camera's eye , is fictive and unstable . The film thus inverts the ...
rethink our typical response to the question of agency in relation to the visual realm , and suggests that the kind of mastery , which classically attaches itself to the camera's eye , is fictive and unstable . The film thus inverts the ...
Síða 87
As Tom Gunning has noted , " Freud does not dwell on this extraordinary bodily identification with the camera apparatus . Certainly , most claims of ' I am a camera ' rest primarily on the visual rather than the sex organs " ( Charmey ...
As Tom Gunning has noted , " Freud does not dwell on this extraordinary bodily identification with the camera apparatus . Certainly , most claims of ' I am a camera ' rest primarily on the visual rather than the sex organs " ( Charmey ...
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| Titill | Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Útgáfa 22 Discourse: Berkeley journal for theoretical studies in media and culture, University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Framlag frá | University of Wisconsin--Milwaukee. Center for Twentieth Century Studies |
| Útgefandi | Indiana University Press, 2000 |
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