Discourse, Útgáfur 5-8 |
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Síða 48
... diegesis and the enunciation . Of course , it should be clear that the very notion of ' diegesis ' is not absolutely relevant here , not so much because of the complexity of this embedding of sequences within each other ( after all ...
... diegesis and the enunciation . Of course , it should be clear that the very notion of ' diegesis ' is not absolutely relevant here , not so much because of the complexity of this embedding of sequences within each other ( after all ...
Síða 105
... diegetic spaces from which the spec- tator may or may not be excluded . Indeed , the separation of sounds and image — the theoretical baseline of much avantgarde practice since the 1960s - and the full exploration of their different ...
... diegetic spaces from which the spec- tator may or may not be excluded . Indeed , the separation of sounds and image — the theoretical baseline of much avantgarde practice since the 1960s - and the full exploration of their different ...
Síða 111
... diegetic space that the viewer securely possesses , or whether it is in fact the non- diegetic space of enunciation regulating at a different level of dis- cursive coherence the discontinuities of both sound and image . Thus , while the ...
... diegetic space that the viewer securely possesses , or whether it is in fact the non- diegetic space of enunciation regulating at a different level of dis- cursive coherence the discontinuities of both sound and image . Thus , while 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