Discourse, Útgáfur 5-8 |
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Síða 63
... effect . Example : the conclusion of Strike , which : did not have that blood curdling effect on the working class public for the simple reason that in the mind of the worker beef blood is associated first of all with the blood recupera ...
... effect . Example : the conclusion of Strike , which : did not have that blood curdling effect on the working class public for the simple reason that in the mind of the worker beef blood is associated first of all with the blood recupera ...
Síða 117
... effect of a receding perspective ( ... ) is completely negated by the rigorous order of the composition . " But if he is able to make his point so easily , that is due to ( at least ) two oversights on his part . First of all , his ...
... effect of a receding perspective ( ... ) is completely negated by the rigorous order of the composition . " But if he is able to make his point so easily , that is due to ( at least ) two oversights on his part . First of all , his ...
Síða 130
... effects track ) . And , intertwined with these three elements , the musical theme scans the whole passage , or , more precisely , it has the effect of putting the whole of the sound track , music , sound effects , and words , entirely ...
... effects track ) . And , intertwined with these three elements , the musical theme scans the whole passage , or , more precisely , it has the effect of putting the whole of the sound track , music , sound effects , and words , entirely ...
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