Discourse, Útgáfur 5-8 |
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Síða 46
... given place and time , owes its importance to montage , and more precisely to a certain conception of montage as fragmentation ( mangling , as it has sometimes been termed pejoratively ) . There can be no question of attributing this ...
... given place and time , owes its importance to montage , and more precisely to a certain conception of montage as fragmentation ( mangling , as it has sometimes been termed pejoratively ) . There can be no question of attributing this ...
Síða 114
... given character in relation to the camera ( among the most typical of such shots are 20 , repeated in B , 15 , echoed in D , 21 , 29 , 38 , etc. ) ; ( 2 ) On the other hand , close - ups , which can be categorized chiefly as either ...
... given character in relation to the camera ( among the most typical of such shots are 20 , repeated in B , 15 , echoed in D , 21 , 29 , 38 , etc. ) ; ( 2 ) On the other hand , close - ups , which can be categorized chiefly as either ...
Síða 115
... given form of montage ) , in relation to the classical economy of representation , it is inscribed as a permanent danger , that of the elimination of depth , of the loss of recognition : Thus , if we are interested in the close - up ...
... given form of montage ) , in relation to the classical economy of representation , it is inscribed as a permanent danger , that of the elimination of depth , of the loss of recognition : Thus , if we are interested in the close - up ...
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