Discourse, Bindi 28,Útgáfur 2-32006 |
From inside the book
Niðurstöður 1 - 3 af 37
Síða 22
... audiences no longer believe in . The movement - image cinema often sought to shock its audience into political thought and action in the world , as in the films of Sergei Mikhailovich Eisenstein . After the Second World War , cinema can ...
... audiences no longer believe in . The movement - image cinema often sought to shock its audience into political thought and action in the world , as in the films of Sergei Mikhailovich Eisenstein . After the Second World War , cinema can ...
Síða 57
... audience ( or at least the white middle class audience who is the film's prime demographic , judging from scenes like this one ) is clearly meant to understand the scene as no more than a silhouette of American racism , inoffensive by ...
... audience ( or at least the white middle class audience who is the film's prime demographic , judging from scenes like this one ) is clearly meant to understand the scene as no more than a silhouette of American racism , inoffensive by ...
Síða 104
female audiences . Until then , the main gender discourse in Korean media seemed to repeatedly reinforce the classical ... audience , in which they were allowed the pleasure of looking back at the opposite gender as well as enjoying the ...
female audiences . Until then , the main gender discourse in Korean media seemed to repeatedly reinforce the classical ... audience , in which they were allowed the pleasure of looking back at the opposite gender as well as enjoying the ...
Efni
Special Effects in Martin Arnolds and Peter Tscherkasskys Cinema | 28 |
Two Readings | 51 |
Reading Natsume | 78 |
Höfundarréttur | |
6 aðrir hlutar ekki sýndir
Aðrar útgáfur - View all
Common terms and phrases
Adrian Piper American Andy Hardy argues Arnold's Asian audience avant-garde avant-garde film become body boots Bungakuron Butler Caucasian Chinese cinematograph concept critical critique death deconstruction Deleuze Derrida desire dialectical discourse Don Justo Dream ence English essay essence experience film industry film's filmmakers finitude Frame cap genre ghost Gilles Deleuze Giosuè global Guido Hegel Heidegger Heidegger's Historias mínimas Hollywood Hong Kong cinema Hong Kong films Ibid identity Jacques Derrida Judith Butler Korean cinema Korean film language Levinas literature living Malacara Marty Marty's metaphor metaphysics modern Monty movement Mythic narrative Natsume Sōseki object ontological Outer Space philosophy Piper political possibility present question racial relationship renvois representation rice and potato rice queen Robert Zemeckis San Julián scene sense sexual social Sōseki spectators specter spectrality story sub-iectum theory thinking thought tion Tokyo trans transvaluation Tscherkassky ture University Press viewer visual World Picture writes York