Discourse, Útgáfur 5-8 |
From inside the book
Niðurstöður 1 - 3 af 49
Síða 32
... viewer . It is the voice - over , together with the intertitles that constitute its point of view , that exer- cise organizational control over the film . Two questions demand our attention : What is the function of the narrator in the ...
... viewer . It is the voice - over , together with the intertitles that constitute its point of view , that exer- cise organizational control over the film . Two questions demand our attention : What is the function of the narrator in the ...
Síða 33
... viewer accept this " fact " without question ? It is a testimony to how thoroughly the viewer is under the sway of the narrator by this point in the film that , indeed , the assess- ment is accepted and the character thereby further ...
... viewer accept this " fact " without question ? It is a testimony to how thoroughly the viewer is under the sway of the narrator by this point in the film that , indeed , the assess- ment is accepted and the character thereby further ...
Síða 38
... viewer will have to con- struct the film actively from its parts , thus in the process securing liberation from the trap of passive consumption ; and that a mix of fiction and documentary modes will disrupt genre conventions , throw the ...
... viewer will have to con- struct the film actively from its parts , thus in the process securing liberation from the trap of passive consumption ; and that a mix of fiction and documentary modes will disrupt genre conventions , throw the ...
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