Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
From inside the book
Niðurstöður 1 - 3 af 83
Síða 114
... shots of the sequence ( according to whether or not they emphasize depth of field ) . At the two extremes one would find : ( 1 ) On one hand , general shots showing the whole " chamber " from a variety of angles ( the shot that is the ...
... shots of the sequence ( according to whether or not they emphasize depth of field ) . At the two extremes one would find : ( 1 ) On one hand , general shots showing the whole " chamber " from a variety of angles ( the shot that is the ...
Síða 123
... shots on Ivan are contrasted first with an extremely fragmented series of seven shots , in which the only movements are Anastasia's very slight head movements , then a single , brief ( 6 second ) shot marked on the contrary by an abrupt ...
... shots on Ivan are contrasted first with an extremely fragmented series of seven shots , in which the only movements are Anastasia's very slight head movements , then a single , brief ( 6 second ) shot marked on the contrary by an abrupt ...
Síða 132
... shot 43 , already mentioned , the moment when the death is decided , and in which the two of them share the shot ; but it is also shown in shot 13 , where Ivan has manifested his affection for ( his complicity with ) his aunt by an arm ...
... shot 43 , already mentioned , the moment when the death is decided , and in which the two of them share the shot ; but it is also shown in shot 13 , where Ivan has manifested his affection for ( his complicity with ) his aunt by an arm ...
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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