Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
From inside the book
Niðurstöður 1 - 3 af 50
Síða 86
... contradiction , there are abundant mentions ( and in every period ) of the " law " of the unity of opposites , of contradiction , and this is so in the most varied of subject matter areas and contexts . This can be seen clearly in the ...
... contradiction , there are abundant mentions ( and in every period ) of the " law " of the unity of opposites , of contradiction , and this is so in the most varied of subject matter areas and contexts . This can be seen clearly in the ...
Síða 89
... contradiction . Here , precisely , more and more often , Eisenstein plays both cards simultaneously - the card of contradiction ( understood as conflict , the living nutriment of every phenomenon , and in particular the very principle ...
... contradiction . Here , precisely , more and more often , Eisenstein plays both cards simultaneously - the card of contradiction ( understood as conflict , the living nutriment of every phenomenon , and in particular the very principle ...
Síða 33
... contradiction emerges . " The more contradictory a situation , the more contrasts you need to describe it . " The words belong to Alexander Kluge , and presumably refer to the sorts of contradictions upon which his films have focused ...
... contradiction emerges . " The more contradictory a situation , the more contrasts you need to describe it . " The words belong to Alexander Kluge , and presumably refer to the sorts of contradictions upon which his films have focused ...
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Achternbusch Alexander Kluge Anastasia avant-garde body Buenos Aires Cabaret Cahiers du cinéma camera character classical concept context contradiction critical critique culture desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation Euphrosinia example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Cinema Germany in Autumn Godard Helke Sander Herbert Achternbusch idea identification identity ideological imaginary India Cabaret Indian Ivan Ivan's Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor Milena montage movement narrative narrator notion opposition organicism political Porteño position precisely present produce public sphere question relation relationship representation Roswitha scene sequence sexual difference shot signifier social sound space speak spectator speech story structure Subjective Factor symbolic tango television theme theoretical tion tive viewer visual voice voice-over woman women word writing