Discourse, Útgáfur 5-8 |
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Niðurstöður 1 - 3 af 89
Síða 120
... example is to be seen in the series of relationships established by the looks " exchanged " between Anastasia and Euphrosinia , when the czarina is about to drink , and then drinks , clearly aware that she is being poisoned ( 47-48-49 ) ...
... example is to be seen in the series of relationships established by the looks " exchanged " between Anastasia and Euphrosinia , when the czarina is about to drink , and then drinks , clearly aware that she is being poisoned ( 47-48-49 ) ...
Síða 121
... example , we have a screen split up between black and white ( 16 ) , black embedded in white ( 19 ) , invasion of white by black ( 25 ) , white embed- ded in black ( 32 ) ) , and especially from one frame to another ( such as the ...
... example , we have a screen split up between black and white ( 16 ) , black embedded in white ( 19 ) , invasion of white by black ( 25 ) , white embed- ded in black ( 32 ) ) , and especially from one frame to another ( such as the ...
Síða 124
... example , the opening sequence of October , particularly the first nine shots . Little by little , by means of a series of backward move- ments of the camera , by means of the accumulation of a more and more complete series of pieces of ...
... example , the opening sequence of October , particularly the first nine shots . Little by little , by means of a series of backward move- ments of the camera , by means of the accumulation of a more and more complete series of pieces of ...
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