FILM LA TRAICION 81
In one of his later works, he instinctively raised a number of questions in the theory of sound film and outlined solutions.The new discovery is not considered as a technical invention which improved natural image reproduction, and as a new means of artistic creation. The first task of the sound film Pudovkin believed the task to increase the expressive power of the film.Synchronicity does not meet this requirement, since it brings to the movie theater, photographed, it is achieved by a mediocre imitation of reality. The basis of sound film is to provide a visual and sound series on two separate rhythms. For example:image can capture the rhythm of the world, while the soundtrack follows the course of human perception, or vice versa. There zritelnoakustichesky counterpoint, in which sound is a subjective function, and image - an objective, or vice versa."The unity of sound and picture quality is achieved by the semantic relationship, as a result of which, as we shall show, is a more accurate depiction of nature than its surface up.Mounting a variety of images in a silent film, we began to pursue the unity and freedom, which are download the film la traicion 81
and realized in nature only by its abstract human mind.Now, in the sound film we can download the film la traicion 81
and within the same celluloid tape not only for mounting different points in space, but also to introduce by association with the image of sound, revealing and reinforcing characteristics of the two series;where a silent movie we had an encounter of two opposing elements, now we can face four. "Of course, as we have said, the verb "to cut" remains valid also for the sound film, although "many are of the view that with the advent of sound editing techniques download the film la traicion 81
and developed in the period of silent films, should be thrown overboard."Mistaken, points Pudovkin, who believe that the sound kills "the specific cinema", and therefore the perfect time: "The human eye is able to easily and instantly perceive the content of quick-change graphic frames, then the ear, they say, may not be as instantly capture sense changes in the sound recording.Therefore, they argue, the rhythm of the sound changes should be much slower rhythm shifts of visual images. They are right only when it comes to a combination of short with a series of image frames as short sound effects, get close to them in a purely naturalistic context.Of course, it would be impossible to compose short shots Eisenstein's Odessa Steps scene in "Battleship" Potemkin "- from soldiers screaming woman, crying children - with sound, mounted in parallel."But, according to the principle of Pudovkin, does "no need to start the sound, where it first appears appropriate image and cut it where the image ends.Every piece of audio recording, either speech or music, can go unchanged, while the visual images appear and disappear in the scene, made from short frames. Look online
. Or, conversely, when the image is in the longer pieces, audio series can change yourself, at your own pace."I think - wrote Pudovkin on - that only by going in this direction, cinematography can free Pudovkin, sound and image.