Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
From inside the book
Niðurstöður 1 - 3 af 81
Síða 56
... produce right down to the slightest bit of image consciously ( knowing how it was made , and , why not [ see below ] , what effect it will produce ) -all of this is obviously the clearest expression , in the theoretical realm , of the ...
... produce right down to the slightest bit of image consciously ( knowing how it was made , and , why not [ see below ] , what effect it will produce ) -all of this is obviously the clearest expression , in the theoretical realm , of the ...
Síða 127
... produces one of the possible metaphors of the face of Anastasia ( in this sequence and in the entire film ) , that of the Virgin , or the Saint . From 4 to 5 , moreover , the mode of passage remains analogous , in order to produce a ...
... produces one of the possible metaphors of the face of Anastasia ( in this sequence and in the entire film ) , that of the Virgin , or the Saint . From 4 to 5 , moreover , the mode of passage remains analogous , in order to produce a ...
Síða 80
... produce . Repetition for example may play a crucial role in the organiza- tion of a narrative , but that may indicate very little about a viewer's relationship to it . There may however be a co - presence , a simultaneity of textual ...
... produce . Repetition for example may play a crucial role in the organiza- tion of a narrative , but that may indicate very little about a viewer's relationship to it . There may however be a co - presence , a simultaneity of textual ...
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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