Discourse, Útgáfur 5-8 |
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Síða 57
... enunciation , Fassbinder transforms the enclosed space of his apartment into a public stage that exposes the personal - political double - bind of the individual artist . Taken by itself , the episode would probably leave the spectator ...
... enunciation , Fassbinder transforms the enclosed space of his apartment into a public stage that exposes the personal - political double - bind of the individual artist . Taken by itself , the episode would probably leave the spectator ...
Síða 109
... enunciation : indeed narrative efficacity depends on their convergence to the point of identity , or more exactly , the possibility of their metaphoric equivalence . 19 Any given system of enunciation may substitute for a particular ...
... enunciation : indeed narrative efficacity depends on their convergence to the point of identity , or more exactly , the possibility of their metaphoric equivalence . 19 Any given system of enunciation may substitute for a particular ...
Síða 111
... enunciation . As Silverman implies in the case of Anni , the subject of the enunciaton is also the subject of the enun- ciated , so that the film knows both a first - person " I " and the third- peson " she " , which are not ...
... enunciation . As Silverman implies in the case of Anni , the subject of the enunciaton is also the subject of the enun- ciated , so that the film knows both a first - person " I " and the third- peson " she " , which are not ...
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