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Fairy tales of the Viennese wood
WATCH THE FILM MONKEY AND THE TORTOISE ONLINE ... As for us, we, being given the power of the contradictory fantasies claim that Bergson never for a moment left out of the field of his attention cinematic view of things;but he only would not want to take the spirit of the theater is one of those "seats" in which he sees the dormant since Plato philosophers archaic forms, those who, riddled with conceptual immobility visual movement, believes that it is not moving in its chair, he will be able to catch the movement of the metaphysical screen ...And in the end all he asks of himself kontrolyaeto to him, who presented himself as a " generalized motion" or "abstract formation" to be allowed to enjoy the essential film, sitting in a special privilege ... inside the projector!As you can see, a game of illusions, a fruitless fantasy. But we have come to her through the efforts of those who have made arrangements to bring cinematic polemic to witness the accusations, the protection of a philosopher, but metaphorically relate to the subject on which it wants to get to speak directly. Look the truth in the face and let's face it.Is bergsonianstvo, basically hungry to connect with the "mobility", infused with "the desire to raise the idea of вЂ‹вЂ‹the soul," will describe the soul "in the most emotional and depth of its regions", in the most genuine areas facing the area of вЂ‹вЂ‹the fundamental instinct is it bergsonianstvo, although different in its essence, in its tendency notmerges with modern sinegrafiey? In any case, at least in its output, which states that sinegrafiya - in general bergsonianka, Mr Vyuyermoz absolutely right. But in this kind of righteous contains a logical contradiction.It's impossible not to indulge in contradiction to say that the movie is, on the one hand, tends to bergsonianstvu seeking to substitute false art crystallizations vital truth movement, and that it is drawn to the old art, perpetually strive for the opposite.In short, can we consider the "fifth skill" that whose purpose is obvious challenges confront other arts? If you ask whether an abstract aestheticians four great art, these art brought to you, in spite of the differences that exist between them and the contradictions, as noted their common revolutionary ideal one.This is especially evident to those who turn them toward the specific symptoms, which are works of art. We must confess that our feelings in all of this teleological whirlpool are very specific in nature.They are in line with the famous statement that does not psevdologicheskimi imaginations, but, on the contrary, as any paradox, the essence of the approach to the dizzying abyss of truth, with the famous statement that Wilde was forced to improvise for the "design" before the big bronze Hermes, who reigned in the heart of itshome and denoting bondage domination last treacherous words, the kingdom of the Logos, which, according to St. John, there is a God, and according to Spinoza - a lie.In other words, "the art is primarily a form of exaggeration, underscore" - transcendental game in which implicitly is a lie, that is an expression of false and beautiful things, "Art begins with abstract decoration, with a net work of fiction and is meant to be surreal, to non-existent ";and because of this "art of dying as soon as it ceases to be wholly imaginary." It is futile, we think, to try to counter these other maxims that contradict them.