Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-9Indiana University Press, 1983 |
From inside the book
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Síða 133
... spectator's interest , and that con- sequently , for the spectator , suspense is only expectation ( delightful or dreadful ) . There can be no doubt that Eisenstein had not the slightest interest in making us wait for a solution . Not ...
... spectator's interest , and that con- sequently , for the spectator , suspense is only expectation ( delightful or dreadful ) . There can be no doubt that Eisenstein had not the slightest interest in making us wait for a solution . Not ...
Síða 59
... spectator into the complacent security of a world- wise subject of the state is more likely to irritate the spectator in the cinema who , after all , came to see a single feature film . From the per- spective of the latter , Germany in ...
... spectator into the complacent security of a world- wise subject of the state is more likely to irritate the spectator in the cinema who , after all , came to see a single feature film . From the per- spective of the latter , Germany in ...
Síða 60
... spectators . 13 The notion of the film in the spectator's head prompts a com- parison with psychoanalytic film theory , in particular the writings of Metz in The Imaginary Signifier.14 In the classic essay of the same title , Metz ...
... spectators . 13 The notion of the film in the spectator's head prompts a com- parison with psychoanalytic film theory , in particular the writings of Metz in The Imaginary Signifier.14 In the classic essay of the same title , Metz ...
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