Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bände 5-9Indiana University Press, 1983 |
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Seite 135
... character typing . It is important to emphasize that this is a mode of character typ- ing radically different from those previously used by Eisenstein . The Mensheviks of October are typed as Mensheviks , i.e. , as occupants of a given ...
... character typing . It is important to emphasize that this is a mode of character typ- ing radically different from those previously used by Eisenstein . The Mensheviks of October are typed as Mensheviks , i.e. , as occupants of a given ...
Seite 32
... character in the realist sense of character unity and psychological motivation , she is nevertheless a compelling presence on screen and the nominal focus of the film . Her persona as well as her distillation of the film's narrative and ...
... character in the realist sense of character unity and psychological motivation , she is nevertheless a compelling presence on screen and the nominal focus of the film . Her persona as well as her distillation of the film's narrative and ...
Seite 68
... characters does not pretend to the illusionistic wholeness of conventional female protagonists , but makes the character readable as a construction , as a focal point of intersecting discourses . Thus , she achieves the relative ...
... characters does not pretend to the illusionistic wholeness of conventional female protagonists , but makes the character readable as a construction , as a focal point of intersecting discourses . Thus , she achieves the relative ...
Inhalt
Monster Events | 5 |
Roegs Bad Timing | 21 |
Eisensteinian Concepts | 41 |
Urheberrecht | |
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Achternbusch Alexander Kluge Anastasia avant-garde become body Buenos Aires Cahiers du cinéma camera character cinema concept context contradiction critical critique cultural cybernetic cyborg desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation essay example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Germany in Autumn Godard Helke Sander Herbert Achternbusch human identity ideological imaginary India Cabaret Ivan Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor mode montage movement narrative narrator notion nuclear Oedipal opposition political position postmodern precisely present produce question relation relationship representation represented Sander scene sense sequence sexual difference shot signifier social space speak spectator speech story structure Subjective Factor symbolic tango theoretical tion tive traditional trans viewer visual voice whole woman women word writing