Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
From inside the book
Niðurstöður 1 - 3 af 34
Síða 13
... documentary and the fiction film . In an early interview Sander noted her preference for what might be called " generic bricolage " -for the collapsing of cinematic categories : Truthfully speaking , the distinction between genres means ...
... documentary and the fiction film . In an early interview Sander noted her preference for what might be called " generic bricolage " -for the collapsing of cinematic categories : Truthfully speaking , the distinction between genres means ...
Síða 14
... documentary from the fiction film - of the discursive operations and the social real specific to each . The Subjective Factor often exploits these differences for dialectical purposes . The most obvious documentary element upon which ...
... documentary from the fiction film - of the discursive operations and the social real specific to each . The Subjective Factor often exploits these differences for dialectical purposes . The most obvious documentary element upon which ...
Síða 94
... documentary scenes alternate with extremely stylized ones . This is so because I noticed especially in films made in Berlin , that a lot of the work is documentary - and the films are basically seen by a public already converted in ...
... documentary scenes alternate with extremely stylized ones . This is so because I noticed especially in films made in Berlin , that a lot of the work is documentary - and the films are basically seen by a public already converted in ...
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Common terms and phrases
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