Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
From inside the book
Niðurstöður 1 - 3 af 67
Síða 113
... function in narrative . It is always motivated , determined by an assertive , " faultless " logic . ( Example : In which direction will the aide de camp who has just taken Dessalines ' sabre away from him make his exit ? " He will take ...
... function in narrative . It is always motivated , determined by an assertive , " faultless " logic . ( Example : In which direction will the aide de camp who has just taken Dessalines ' sabre away from him make his exit ? " He will take ...
Síða 126
... function of an expressive order ( or , rather , a writing order ) . Thanks to the match , the cut is not reabsorbed in a cumulative scene , on the contrary , it is articulated from it to a greater degree ( used or conceived of as a ...
... function of an expressive order ( or , rather , a writing order ) . Thanks to the match , the cut is not reabsorbed in a cumulative scene , on the contrary , it is articulated from it to a greater degree ( used or conceived of as a ...
Síða 134
... function : The presence of Euphrosinia , of Basmanov , the " absences " of Maliouta , because they are partially arbi- trary , could be attributed to a certain effect of verisimilitude . It is shown to us this way , because that's the ...
... function : The presence of Euphrosinia , of Basmanov , the " absences " of Maliouta , because they are partially arbi- trary , could be attributed to a certain effect of verisimilitude . It is shown to us this way , because that's the ...
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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