Discourse, Útgáfur 5-8 |
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Síða 131
... Ivan and his following . ( And , from this point of view , the decapitated heads of the Kolytchevs will be one of Ivan's answers . ) It is an attempt to punish Ivan for his presumptuousness and to weaken him by eliminating his sole ...
... Ivan and his following . ( And , from this point of view , the decapitated heads of the Kolytchevs will be one of Ivan's answers . ) It is an attempt to punish Ivan for his presumptuousness and to weaken him by eliminating his sole ...
Síða 132
... Ivan , who causes that poison to be drunk ( cf. , in shot 49 , the heavy emphasis on his hand holding the goblet , very unrealistically , throughout the entire ingestion of the liquid , finally occupying the entire frame and very ...
... Ivan , who causes that poison to be drunk ( cf. , in shot 49 , the heavy emphasis on his hand holding the goblet , very unrealistically , throughout the entire ingestion of the liquid , finally occupying the entire frame and very ...
Síða 137
... Ivan the Terrible , film director Sergei Eisenstein revealed his ignorance of historical fact by presenting ( ... ) Ivan the Terrible himself , who had determination and character , as weak and indecisive , a little like Hamlet . " This ...
... Ivan the Terrible , film director Sergei Eisenstein revealed his ignorance of historical fact by presenting ( ... ) Ivan the Terrible himself , who had determination and character , as weak and indecisive , a little like Hamlet . " This ...
Efni
BERKELEY JOURNAL FOR THEORETICAL STUDIES IN MEDIA AND CULTURE | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Höfundarréttur | |
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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