Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
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Niðurstöður 1 - 3 af 51
Síða 52
... frame . " Frame . The word , taken as is from French ( cadre ) does not exist in Russian prior to its introduction into the film vocabulary . There is therefore nothing pictorial in the word kadr , the film frame . At least there is ...
... frame . " Frame . The word , taken as is from French ( cadre ) does not exist in Russian prior to its introduction into the film vocabulary . There is therefore nothing pictorial in the word kadr , the film frame . At least there is ...
Síða 53
... frame , " each time taking into the frame only what is necessary for the given phase of the movement of the scene . But this sorting out of the sole ele- ments necessary [ ... ] is also obligatory for its construction on the stage . It ...
... frame , " each time taking into the frame only what is necessary for the given phase of the movement of the scene . But this sorting out of the sole ele- ments necessary [ ... ] is also obligatory for its construction on the stage . It ...
Síða 119
... frame . Here , as in the silent films , the frame functions as a relatively autonomous unit , and all the more openly because it is based on a more immediate referent , the one posited by the evidence of the prior mise - en - scène ...
... frame . Here , as in the silent films , the frame functions as a relatively autonomous unit , and all the more openly because it is based on a more immediate referent , the one posited by the evidence of the prior mise - en - scène ...
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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