Discourse, Útgáfur 5-8 |
From inside the book
Niðurstöður 1 - 3 af 25
Síða 102
... Ivan's movements in the first passage ( in particular his series of looks back and forth from right to left , shots 37 to 42 and I to K ) can be reiterated in the very greatest formal and figurative detail . Even before any analytical ...
... Ivan's movements in the first passage ( in particular his series of looks back and forth from right to left , shots 37 to 42 and I to K ) can be reiterated in the very greatest formal and figurative detail . Even before any analytical ...
Síða 137
... Ivan and some other films ) . 3. This " other order " is at the same time marked by the extinction of Ivan's entire family ( his wife , his mother , and later on the Staritski ) and by the appearance of homosexual ties , linking him ...
... Ivan and some other films ) . 3. This " other order " is at the same time marked by the extinction of Ivan's entire family ( his wife , his mother , and later on the Staritski ) and by the appearance of homosexual ties , linking him ...
Síða 139
... Ivan's desk can be heard clearly from Anastasia's bedside is even more clearly marked in the scenario : " In shouts and fury , Ivan's wrath reaches Anastasia's ears . Anastasia wants to get up . To go to Ivan . " ( This is followed by a ...
... Ivan's desk can be heard clearly from Anastasia's bedside is even more clearly marked in the scenario : " In shouts and fury , Ivan's wrath reaches Anastasia's ears . Anastasia wants to get up . To go to Ivan . " ( This is followed by a ...
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