Discourse, Útgáfur 5-8 |
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Síða 33
... Milena in a context where time stands for desire ( and significantly not in a Vienna apartment but on a sunbathed Moroccan terrace from where she watches the snake charm- ers in the market square below ) ; " what about now ? ... " she ...
... Milena in a context where time stands for desire ( and significantly not in a Vienna apartment but on a sunbathed Moroccan terrace from where she watches the snake charm- ers in the market square below ) ; " what about now ? ... " she ...
Síða 34
in the film , when Milena and Stefan part on the same border bridge ( and " it does not mean I'm going away , " she says ) . Now , again she's returning to Vienna : Milena : Alex : Milena : Alex : Milena : How're you doin ' ? What ...
in the film , when Milena and Stefan part on the same border bridge ( and " it does not mean I'm going away , " she says ) . Now , again she's returning to Vienna : Milena : Alex : Milena : Alex : Milena : How're you doin ' ? What ...
Síða 39
... Milena : What about now ? Alex : What do you mean now ? Milena : Here , right now , this minute , this second , what we are ... Alex : Milena , did you miss that I just asked you to marry me ? Milena : No ! Alex : But what are you ...
... Milena : What about now ? Alex : What do you mean now ? Milena : Here , right now , this minute , this second , what we are ... Alex : Milena , did you miss that I just asked you to marry me ? Milena : No ! Alex : But what are you ...
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