Film разведчицы to look online

And from this point of view, such as images of Golda Meir bring together with Hitler in "Here and away" will cause rejection. But this, perhaps, is the proof that we are not sufficiently ripe for this "read" visual images. For the method of Godard of the Association can not be considered.When given a single image, it is about to choose a different way, which induces a gap between them.This operation is not associating, and on differentiation, as mathematicians say, either disparirovaniyu as expressed in physics, if one is given the potential, it is necessary to select a different, but not all, such as that between them form a potential difference, leading to the emergence of chegoto third or new.In "Here and away" derived French couple, who did not find understanding with a group of fedayeen. In other words, the gap is primary in relation to the Association or irreducible difference allows us to classify types of similarity. Treschinazhe arises above all else and is expanding.It is not about to follow the chain of images, even over the void, and of going beyond the chain or association. The film ceases to be "images strung on a chain ... chain of continuous way, when one of them - the other slaves, and we - the whole chain of slaves." Method GAP manages the entire cinema One.The method of "I", "first this, then there is" the cinema manages all Being. The two actions between the two emotions, perceptions between the two, between the two visual images, between two ways of sound between audio and visual you need to see are indistinguishable, ie. E. The border.The whole undergoes a mutation, since it ceased to be EdinymBytiem to become constitutive "and" things constitutive gap between the images. In such cases the whole merged with what Blanchot calls force "External dispersion" or "dizziness from gaps":is a void that is no longer the driving force behind the images and that the images can be overcome for the sake of its own extension - but it radically questioned the images themselves and then mounting a false approval endowed with new meaning, becoming at the same time the law.To the extent that the image itself off from the outside world, off-screen space, in turn, is also undergoing a mutation. When the movie was sound, voice over the space as soon Blanchot Maurice. «L 'entretien inflni», p. 65,107- acquired following the confirmation of two of its aspects:on the one hand, noises and voices were able to have a source, eksteriorny respect to the visual image; on the other hand, voice or music is now in a position to testify to the changing overall from behind the visual image, or on the other side of it. This raises the concept of «voice off», expressing the sound toward the voice-over space. However, if we ask the question, under what conditions the movie retrieves the investigation, allowing him to make a sound, and therefore really becomes audible, turn over all:This occurs when the sound in the movie itself becomes an object of a particular type of crop, imposing visual gap framing. The concept of voice off acquires a tendency to disappear in favor of the distinction between what is visible and what is audible - and the difference is determined for the image. Offscreen space no longer exists.Eksteriornoe appeared in the form of substituted gap between the two types of framing the same way. "Godard removes all sorts of conclusions from this when announcing that subverts the mixing installation, if film scouts to watch online in excellent quality and assume that the mixing entails not only the distribution of different sound elements but also giving them the differential relations with the visual elements.

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Film разведчицы
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