Discourse, Útgáfur 5-8 |
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Síða 27
... dominant discursive field , terrorism seems open to alliances to which the established left is often closed - alliances with feminism , for instance . At the same time , as Baudrillard points out , terrorism remains complicitous with ...
... dominant discursive field , terrorism seems open to alliances to which the established left is often closed - alliances with feminism , for instance . At the same time , as Baudrillard points out , terrorism remains complicitous with ...
Síða 86
... dominant order of production whose very breath and “ vulgarity ” ensures an easily purchased erotic charge . Unless that pleasure and fascination can be systematically addressed the exchanges will continue much as they always have ...
... dominant order of production whose very breath and “ vulgarity ” ensures an easily purchased erotic charge . Unless that pleasure and fascination can be systematically addressed the exchanges will continue much as they always have ...
Síða 89
... dominant mode of liter- ary discourse in the forties and fifties . Frye's books , especially Ana- tomy of Criticism , were seen as posing a challenge to that discourse , to the extent that they contextualized every work within a schema ...
... dominant mode of liter- ary discourse in the forties and fifties . Frye's books , especially Ana- tomy of Criticism , were seen as posing a challenge to that discourse , to the extent that they contextualized every work within a schema ...
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