Discourse, Útgáfur 5-8 |
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Síða 107
... Achternbusch char- acter has also disintegrated , leaving the spectator with an awareness of all possible roles , but with a perception only of Achternbusch himself . Perhaps this does not altogether make clear that Achternbusch's films ...
... Achternbusch char- acter has also disintegrated , leaving the spectator with an awareness of all possible roles , but with a perception only of Achternbusch himself . Perhaps this does not altogether make clear that Achternbusch's films ...
Síða 110
... Achternbusch sees farce : some of the social preoccupations of the two directors are remarkably close , and they share a certain iconography of Bavaria - the beer - drunk stupor in the bars , the kitsch - sentimentality that compensates ...
... Achternbusch sees farce : some of the social preoccupations of the two directors are remarkably close , and they share a certain iconography of Bavaria - the beer - drunk stupor in the bars , the kitsch - sentimentality that compensates ...
Síða 111
... Achternbusch forces both language and image towards the literal rather than the figurative . And in this sense , his films might well be called post - narrative rather than anti - narrative . Yet one hesitates to describe his work in ...
... Achternbusch forces both language and image towards the literal rather than the figurative . And in this sense , his films might well be called post - narrative rather than anti - narrative . Yet one hesitates to describe his work in ...
Efni
BERKELEY JOURNAL FOR THEORETICAL STUDIES IN MEDIA AND CULTURE | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Höfundarréttur | |
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Common terms and phrases
Achternbusch Alexander Kluge Anastasia avant-garde body Buenos Aires Cabaret Cahiers du cinéma camera character classical concept construction context contradiction critical critique culture desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation Euphrosinia example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Cinema Germany in Autumn Godard Helke Sander Herbert Achternbusch idea identification identity ideological imaginary India Cabaret Indian Ivan Ivan's Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor Milena montage movement narrative narrator notion opposition organicism political Porteño position precisely present produce public sphere question relation relationship representation scene sequence sexual difference shot signifier social sound space speak spectator speech story structure Subjective Factor symbolic tango television theme theoretical tion tive viewer visual voice voice-over woman women word writing