Discourse, Útgáfur 5-8 |
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Síða 114
... classical classical ideology ( homogeneity / continuity , and their imaginary preservation at any cost ) and a " dialectical " ( or " heterologi- cal " ) ideology . Thus , looking at the close - up from this point of view , it can be ...
... classical classical ideology ( homogeneity / continuity , and their imaginary preservation at any cost ) and a " dialectical " ( or " heterologi- cal " ) ideology . Thus , looking at the close - up from this point of view , it can be ...
Síða 123
... classical forms . ( It will like- wise be noted that the passage from one shot to another is often effected in a mode which recalls " classicism . " ) At the same time , a whole series of disturbances are constantly modifying this ...
... classical forms . ( It will like- wise be noted that the passage from one shot to another is often effected in a mode which recalls " classicism . " ) At the same time , a whole series of disturbances are constantly modifying this ...
Síða 109
... classical sound cinema practice . Whereas classical narrative , and even more so , television , divides the signifying materials at the level of pro- duction ( division of labour , the filmic process of specialization of tasks and ...
... classical sound cinema practice . Whereas classical narrative , and even more so , television , divides the signifying materials at the level of pro- duction ( division of labour , the filmic process of specialization of tasks and ...
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