Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
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Niðurstöður 1 - 3 af 81
Síða 100
... sequence " taken from Ivan the Terrible , Part 1 and Part 2 . Globally , and once again at the risk of being ... sequence " a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part ...
... sequence " taken from Ivan the Terrible , Part 1 and Part 2 . Globally , and once again at the risk of being ... sequence " a passage from each of the two parts of the film , so that I could take an oblique approach to Ivan , Part ...
Síða 131
... sequence ( which , as we have already pointed out , Eisenstein viewed as the key sequence of the entire film , ideologically speaking ) . Yet , when we look at it more closely , nothing is less clear . In his text on Ivan , Jean ...
... sequence ( which , as we have already pointed out , Eisenstein viewed as the key sequence of the entire film , ideologically speaking ) . Yet , when we look at it more closely , nothing is less clear . In his text on Ivan , Jean ...
Síða 140
... sequence , and , secondly , on the fact that the themes of the sequence can be carried , according to the moment , by any given expressive means , in particular by the music and the color . ( " When the theme intersects with the ...
... sequence , and , secondly , on the fact that the themes of the sequence can be carried , according to the moment , by any given expressive means , in particular by the music and the color . ( " When the theme intersects with 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