Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-9Indiana University Press, 1983 |
From inside the book
Niðurstöður 1 - 3 af 84
Síða 100
... sequence " taken from Ivan the Terrible , Part 1 and Part 2 . Globally , and once again at the risk of being ... sequence ” a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part ...
... sequence " taken from Ivan the Terrible , Part 1 and Part 2 . Globally , and once again at the risk of being ... sequence ” a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part ...
Síða 131
... sequence ( which , as we have already pointed out , Eisenstein viewed as the key sequence of the entire film , ideologically speaking ) . Yet , when we look at it more closely , nothing is less clear . In his text on Ivan , Jean ...
... sequence ( which , as we have already pointed out , Eisenstein viewed as the key sequence of the entire film , ideologically speaking ) . Yet , when we look at it more closely , nothing is less clear . In his text on Ivan , Jean ...
Síða 140
... sequence , and , secondly , on the fact that the themes of the sequence can be carried , according to the moment , by any given expressive means , in particular by the music and the color . ( " When the theme intersects with the ...
... sequence , and , secondly , on the fact that the themes of the sequence can be carried , according to the moment , by any given expressive means , in particular by the music and the color . ( " When the theme intersects with the ...
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