She teaches him by example, saying that involved serial manufacturing of small mechanical rabbit and happy with the knowledge that they will fall into the hands of strangers, and children will travel throughout the city.And the hero begins to understand that information about the question "What to do?" Are contained in a useful task to execute. In the end, he download the film 01-99
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and again we can say that Kurosawa tells us something though humanistic, but quite commonplace. But because the film about something else: the stubborn search of the issue and information about him, passing through a variety of situations. And that as a result of promotion quest finally found the answer.The only answer is to re-assemble the data, "recharge" the world of data, to put something in motion - to the extent possible, and no matter how small it may be - so that on the basis of these new or updated data issues arose and spread less violent, more happy and close to nature and life.This is what Dersu Uzala, when he wanted to he download the film 01-99
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and cabin and left her some food to go calling travelers could eat and keep going. That's when you can become a shadow and die:Then we return to the space of the breath, we are again united with prostranstvomdyhaniem, turn into the park, forest, or a mechanical rabbit, in the sense in which Henry Miller said that if he was to be born again, he would have been born a park. The parallel between Kurosawa and Mizoguchi as a commonplace, as between Corneille and Racine.Almost exclusively male world of Kurosawa confronts female universe Mizoguchi. Mizoguchi creativity belongs to the small form in the same measure as the work of Kurosawa - a big one.Mizoguchi signature could be a discontinuous line, and polygon 264 Gilles Deleuze KinoObrazdvizhenie 265 lines, like the one that appears on the lake from the movie "Ugetsu monogatari", where the ripples on the water takes a shot.Both directors show, not so much in favor of the complementarity of the two forms that facilitates interconversion, but in favor of a clear-cut distinction.But just as Kurosawa - with its technology and metaphysics - are at a greater expansion of the form, which looks like a transformation "on the spot", Mizoguchi is lengthening and stretching a small form that transforms its foundation.What Mizu ^ guchi proceeds from the second principle, not out of breath, and the skeleton of a small piece of space that is necessary to connect with the next piece, apparently from many points of view.
All proceeds from the "depth", that is, of a piece of space that women of "a secret hidden in the house," with its core and a thin curtain.In "The Story Tikamaiu" effect, that is, flight spouses, preceded this geometric game hero in the room of his wife. And, of course, in the house of a whole system of relations runs the sliding and sliding doors. However, the problem of matching a single piece of the space to another occurs when the relationship is home to the street;in a more generalized cases ^ after a character out of the frame or the camera leaves the character, there intervenes a lot mediating voids.