Discourse, Útgáfur 5-8 |
From inside the book
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Síða 14
... voice - over . The dramatized or fiction footage , which constitutes the major part of the film , is shot almost ... voice - over speaks of Anni discovering " totally new experiences at thirty - new ideas , new words , new books ...
... voice - over . The dramatized or fiction footage , which constitutes the major part of the film , is shot almost ... voice - over speaks of Anni discovering " totally new experiences at thirty - new ideas , new words , new books ...
Síða 15
third - person voice - over has also traditionally spoken without seeming to address anyone in particular - to emanate from “ on high . " 18 The third - person voice in The Subjective Factor , on the other hand , is female , and closely ...
third - person voice - over has also traditionally spoken without seeming to address anyone in particular - to emanate from “ on high . " 18 The third - person voice in The Subjective Factor , on the other hand , is female , and closely ...
Síða 67
... voice - over narration , especially in its documentary usage . Let us take a brief look at Gabi Teichert's appearance in Ger- many in Autumn . Over an image of the character getting ready to go . out , looking at herself in a mirror ...
... voice - over narration , especially in its documentary usage . Let us take a brief look at Gabi Teichert's appearance in Ger- many in Autumn . Over an image of the character getting ready to go . out , looking at herself in a mirror ...
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