Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-9Indiana University Press, 1983 |
From inside the book
Niðurstöður 1 - 3 af 34
Síða 48
... fragment globally . ( Ibid . , RW 2 , p . 56 ) Considering all the stimuli ( all the parameters ) of a fragment globally , to put them into relationship with those of another fragment , taken just as globally , does not really require ...
... fragment globally . ( Ibid . , RW 2 , p . 56 ) Considering all the stimuli ( all the parameters ) of a fragment globally , to put them into relationship with those of another fragment , taken just as globally , does not really require ...
Síða 49
... fragment ( its composition , and therefore , cf. infra , its effect ) . It is no accident that in the 1929 text ... fragment , both of them abundantly attested to in the Eisensteinian text ( even if never in these terms ) . First ...
... fragment ( its composition , and therefore , cf. infra , its effect ) . It is no accident that in the 1929 text ... fragment , both of them abundantly attested to in the Eisensteinian text ( even if never in these terms ) . First ...
Síða 51
... fragment like a " new point of view , differentiated from that of the [ preceding ] fragment " ( " Montage of Cine - Attractions , " 1925 ) ; that is , to construct each fragment like a new image of the material filmed , possessing its ...
... fragment like a " new point of view , differentiated from that of the [ preceding ] fragment " ( " Montage of Cine - Attractions , " 1925 ) ; that is , to construct each fragment like a new image of the material filmed , possessing its ...
Efni
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Höfundarréttur | |
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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