Discourse, Útgáfur 5-8 |
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Síða 60
... definition of the word . Without giving up the " aggressive " characteristics which have just been defined , the attraction begins to designate , or , at least ( for none of this is ever clearly formulated ) , to evoke a process of more ...
... definition of the word . Without giving up the " aggressive " characteristics which have just been defined , the attraction begins to designate , or , at least ( for none of this is ever clearly formulated ) , to evoke a process of more ...
Síða 20
... defined by the unpaid labor which they continue to perform within the home , labor which is defined in terms of personal needs rather than the demands of capital . The definition of women in terms of unpaid labor produces female ...
... defined by the unpaid labor which they continue to perform within the home , labor which is defined in terms of personal needs rather than the demands of capital . The definition of women in terms of unpaid labor produces female ...
Síða 60
... defined and fixed once and for all by the apparatus , opposes an almost infinite variety of identificatory ( narrative ) situations to the immutability of the ' perceptive ' identification , thereby implying an excessive rigidity of the ...
... defined and fixed once and for all by the apparatus , opposes an almost infinite variety of identificatory ( narrative ) situations to the immutability of the ' perceptive ' identification , thereby implying an excessive rigidity of the ...
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