Discourse, Útgáfur 5-8 |
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Síða 77
... meaning . This is partly because an entry into the symbolic must be compen- sated for by the loss and denial of ... meaning must therefore quickly be recog- nized as one of a number of levels of meaning . There is no direct link ...
... meaning . This is partly because an entry into the symbolic must be compen- sated for by the loss and denial of ... meaning must therefore quickly be recog- nized as one of a number of levels of meaning . There is no direct link ...
Síða 108
... meaning , to induce specific emotions- takes on an aspect of madness as it forms a parenthe- sis in which “ beauty ” and “ deformity " are given a certain parity by association , yet counterposed as an oxymoron , a crisis in meaning ...
... meaning , to induce specific emotions- takes on an aspect of madness as it forms a parenthe- sis in which “ beauty ” and “ deformity " are given a certain parity by association , yet counterposed as an oxymoron , a crisis in meaning ...
Síða 117
... meaning is turned inside out into a question of meaning , our knowledge is turned into a figment of the imagination : the ideological objects that our soci- ety constructs are silently declared im - pertinent . It is the end of ...
... meaning is turned inside out into a question of meaning , our knowledge is turned into a figment of the imagination : the ideological objects that our soci- ety constructs are silently declared im - pertinent . It is the end 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