Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-9Indiana University Press, 1983 |
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Niðurstöður 1 - 3 af 72
Síða 52
... precisely , its relationship to what it is made out of ( what is sometimes called the " profilmic " 12 ) . Here it is a question of shooting ( prise de vue ) -and the characteristic of the Eisensteinian frag- ment is here , precisely ...
... precisely , its relationship to what it is made out of ( what is sometimes called the " profilmic " 12 ) . Here it is a question of shooting ( prise de vue ) -and the characteristic of the Eisensteinian frag- ment is here , precisely ...
Síða 77
... precisely all the processes against which the idea of attraction , in all its violence , was conceived , this , Eisenstein tells us , is a simple tactical ruse , the processes in question being in fact submitted to a real " diversion ...
... precisely all the processes against which the idea of attraction , in all its violence , was conceived , this , Eisenstein tells us , is a simple tactical ruse , the processes in question being in fact submitted to a real " diversion ...
Síða 91
... precisely the meaning which , in our interpre- tation , is also found at the basis of the universal movement . It is precisely this curve which signifies , figuratively , the passage into the opposite . ( " Organicism and Imaginicity ...
... precisely the meaning which , in our interpre- tation , is also found at the basis of the universal movement . It is precisely this curve which signifies , figuratively , the passage into the opposite . ( " Organicism and Imaginicity ...
Efni
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Höfundarréttur | |
7 aðrir hlutar ekki sýndir
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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