Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-9Indiana University Press, 1983 |
From inside the book
Niðurstöður 1 - 3 af 68
Síða 136
... figure ( as is the case with the Mensheviks in October and of the kulak in The General Line ) , it is in a way precarious . Basmanov is not reduced to his femininity , any more than Anastasia is reduced to her figure of the Good Mother ...
... figure ( as is the case with the Mensheviks in October and of the kulak in The General Line ) , it is in a way precarious . Basmanov is not reduced to his femininity , any more than Anastasia is reduced to her figure of the Good Mother ...
Síða 103
... figure with whom the spectator might identify - this would lead inevitably to a fictional and romanesque con ... figure Achternbusch draws some of his strongest comic effects ( and in this sense he is closer to the bad taste of ...
... figure with whom the spectator might identify - this would lead inevitably to a fictional and romanesque con ... figure Achternbusch draws some of his strongest comic effects ( and in this sense he is closer to the bad taste of ...
Síða 110
... figure of what the film does not describe : a utopia where a story resolves all of the information into a circumscribed , uni- fied world ( utopian because within narrative desires are ful- filled ) . Where narrative works with the ...
... figure of what the film does not describe : a utopia where a story resolves all of the information into a circumscribed , uni- fied world ( utopian because within narrative desires are ful- filled ) . Where narrative works with the ...
Efni
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Höfundarréttur | |
7 aðrir hlutar ekki sýndir
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Common terms and phrases
Achternbusch Alexander Kluge Anastasia avant-garde become body Buenos Aires Cahiers du cinéma camera character cinema concept context contradiction critical critique cultural cybernetic cyborg desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation essay example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Germany in Autumn Godard Helke Sander Herbert Achternbusch human identity ideological imaginary India Cabaret Ivan Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor mode montage movement narrative narrator notion nuclear Oedipal opposition political position postmodern precisely present produce question relation relationship representation represented Sander scene sense sequence sexual difference shot signifier social space speak spectator speech story structure Subjective Factor symbolic tango theoretical tion tive traditional trans viewer visual voice whole woman women word writing