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Fragmentation into large individual plans do not violate the integrity of the screen - they are part of a "group" of nine portraits of "patriots" in which to guess the fate and the social nature of each.With external calmness, smoothness and quiet action of the film is developed intensively. The smoothness of the film flow generated elongation installation pieces, almost imperceptible softness rakursnyh tracks, wide tonal range of lighting.In working on this film was formed "volchkovskaya" style portrait of the visual interpretation of the organization and composition frame. Close-up of a Volchek - is an integral part of the fabric film - dramatic, story, visual.He is not isolated from the background, not pulled out of the environment, it is based composition, usually diagonal to the imposition of the important elements of the plot forward. In the 30's there was no wide-angle optics and lenses with a focal length of a normal not to give more depth of field.The optical picture frame "Pyshki" was built on the principle of a sharp foreground and blurred a little soft background. Foreground stand out not only compositionally and optically it in tone " recaptured" from the background.Volchek loved saturate the foreground all the richness of light and shadow to create depth and volume of the light pattern, and led off the ground, not only in the optical, but also in tonal blur. In some shots, "Pyshki" effect is often to the diagonal composition and developed not only the first, but in the background, in the depth of the frame.In the next film - "Thirteen" - such a construction has been used in the majority of frames, allowing the precise semantic relationship between the characters and the environment.If we now examine Volchek films in chronological order in terms of the composite construction frame n ratio of foreground and background, we come to some interesting and unexpected conclusions.We will see that the desire to create Volchek screen effect three-dimensional space and plasticity image each time the film makes the operator more and more songs to deepen and build them diagonally in depth, in the disposition of the main action in the foreground.If we compare the "donuts" with the later work Volchek - Romm, such as movies, " Lenin in 1918" or "Man в„– 217", at first glance it may seem that these pictures have nothing to do, that their artistic solution not only has nothing in common, but, on the contrary, it is absolutely one another denies.In the "crumpet" - attraction to the beautiful frame of impressionistic tone scale. In the Novels of Lenin - an attempt to approach the document, by means of the historical chronicle of feature films. In the "Russian question" and "Secret Mission" - stiffness, contrast manner, reinforcing and emphasizing journalistic character pattern.However, with all genres and formal differences between film shot Volchek, there is a deep inner connection.
FILM THE EROTIC ADVENTURES OF THE THREE MUSKETEERS
It can be found by expanding the individual components of a coherent image system and analyzing the nature of the film, the purpose and essence of the "volchkovskoy" pictorial logic.Already in the paintings of download the film The Erotic Adventures of the Three Musketeers
and Lenin appeared separate plans using deep staging.