Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
From inside the book
Niðurstöður 1 - 3 af 32
Síða 47
... fragment exists as a concept , of course , only as the sum of its definitions , of its " dimensions " ) , we shall define a vertical dimension of the fragment ( and our inspiration here is provided by the famous diagrams in which the ...
... fragment exists as a concept , of course , only as the sum of its definitions , of its " dimensions " ) , we shall define a vertical dimension of the fragment ( and our inspiration here is provided by the famous diagrams in which the ...
Síða 48
... fragment globally . ( Ibid . , RW 2 , p . 56 ) Considering all the stimuli ( all the parameters ) of a fragment globally , to put them into relationship with those of another fragment , taken just as globally , does not really require ...
... fragment globally . ( Ibid . , RW 2 , p . 56 ) Considering all the stimuli ( all the parameters ) of a fragment globally , to put them into relationship with those of another fragment , taken just as globally , does not really require ...
Síða 51
... fragment like a " new point of view , differentiated from that of the [ preceding ] fragment " ( " Montage of Cine - Attractions , " 1925 ) ; that is , to construct each fragment like a new image of the material filmed , possessing its ...
... fragment like a " new point of view , differentiated from that of the [ preceding ] fragment " ( " Montage of Cine - Attractions , " 1925 ) ; that is , to construct each fragment like a new image of the material filmed , possessing its ...
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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