Discourse, Útgáfur 5-8 |
From inside the book
Niðurstöður 1 - 3 af 78
Síða 100
... sequence " a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part 1 and Part 2 , and their difference . Eisenstein himself specifically designated the sequence of the lamentations over ...
... sequence " a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part 1 and Part 2 , and their difference . Eisenstein himself specifically designated the sequence of the lamentations over ...
Síða 140
... sequence , and , secondly , on the fact that the themes of the sequence can be carried , according to the moment , by any given expressive means , in particular by the music and the color . ( " When the theme intersects with the ...
... sequence , and , secondly , on the fact that the themes of the sequence can be carried , according to the moment , by any given expressive means , in particular by the music and the color . ( " When the theme intersects with the ...
Síða 19
... sequence draws our attention to a second subjective factor , one much more con- cerned with establishing similarities than differences . Through the jux- taposition of Dibah and a working class woman who aspires to look like her ...
... sequence draws our attention to a second subjective factor , one much more con- cerned with establishing similarities than differences . Through the jux- taposition of Dibah and a working class woman who aspires to look like her ...
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