FILM FORTY SHADES OF BLUE
Now we are not dealing with the image of the objective or subjective;We got to the relationship between obrazompertseptsiey soznaniemkameroy and transform it (the question, therefore, is not in the definition of e g gs n, В«L'energiespirituelleВ», p. 920. 128 Gilles Cause? Movie-1 Obrazdvizhenie 129 tion of subjectivity or objectivity particular course).This film is very originality and seeks to "give pochuv isting" camera. And Pasolini analyzes the amount of stylistic devices, confirming that reflective consciousness or a purely cinematic cogito:are "persistent" or "on vyazchivoe" framing, where the camera waits until a character enters the frame, do or say something, and then come out, while she herself continued to crop the empty space, "returning the car ooze its pure and absolute sense" "alternate use of different lenses tion when a single andin the same way "and" every minute arrivals camera "dual perception of aesthetic autonomy of self consciousness ..In short, as long obrazpertseptsiya re conceptualize their own content with becoming autonomous car soznaniyakamery, it acquires the status of subjectivity nesobstvennopryamoy ^ Perhaps the slow evolution of movies before gaining them the awareness was needed ^ Examples Pasolini sees creativity Antonioni and Godard.And in fact, Antonioni was one of the masters of obsessive framing: that he personazhnevrotik, or a person who has lost the self-identity, is a "nesobstvennopryamye" relations with the author's poetic worldview, which is approved in the character, and through the character, still all of it different.Preexisting frame promotes curiosity impeaching the character of contemplating their own actions. The images download the film Forty Shades of Blue
and generated by fantasy or neurotic nevrotichki thus becomes visible to the director, as he moves and thinks through his hero fantasies.Maybe modern movies are so necessary personazhinevrotiki, precisely because of the need to reflect nesobstvennopryamuyu speech or "colloquial language" of the modern world? However, if the poetic consciousness Antonioni inherent purely aesthetics, Godard offers a poetic consciousness rather "technically."Moreover, as rightly observed Pasolini, though 1dar and displays the scene definitely sick l "completely nuts" characters, they are not in the hospital and purposes lost not a grain of freedom of its own material, full of life and likely mark the emergence of a new anthropological type to its list of examples of Pasolini could addhimself and Romer. For Pasolini films are download the film Forty Shades of Blue
and characterized as time poetiches1 Pasolini outlines excellent parallel between, on the one hand, neither Antonio and his "paduoromanskim" aestheticism, and on the other - Godard and his anarchic technicism Hence the difference between the "heroes" of the two authors.
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WedВ«L'expenence heretiqueВ», p 150-151 fi kim consciousness, which is neither in the proper sense of the aesthetic, nor purely technicist, but rather can be described as a mystical or " sacred."It also provides an opportunity to bring down obrazpertseptsiyu Pasolini or neurosis of his characters until oskotinivaniya that the highly loathsome content combined with incessant thoughts about "them in a purely poetic spirit animated the mythical element ilisakralizuyuschim That is the interchangeability of the vulgar and the noble, interchanged garbage and beautiful, it is an immersion into the myth of Pasolini found already in nesobstvennopryamoy speech in both the substantial form of literature.