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Fairy tales of the Viennese wood
WATCH THE FILM NAE YEOJACHINGOONEUN GOOMIHO ONLINE Not surprisingly, this important question has repeatedly been raised in the previous chapters, and the reader should be clear that not all content is equally suited for implementing a system of expressive means of cinema.Therefore, we can take for granted that some of its species are more attractive to the screen, and others less. First, we distinguish between three aspects of the content of the story. First, it was his domain: that is, whether the story covers the scope of the Divine Reality or fantasy leads to the area?From all this before the reader clearly knows that photographic film sphere, to which his material is of particular importance. The second aspect of the content of the story is the stuff, and when the film say that it depicts a psychological conflict, military adventure, murder case, etc.Or simply refer to kakomunibud recognized film genre as nauchnofantastichesky, cowboy, music, etc., then we have in mind this aspect. Material dependence of the changes in social and historical conditions of 344 does not allow a systematic classification of its types.And finally, one of the aspects of the content are the main reasons for that is the leading line of the plot, which, however, are realized in the material, but in no way he was not identical.For example, the leading motive of the military film can be disclosure fates of individual people during the war, the image of disasters caused by war to all groups, the glorification of heroism, a call for understanding between peoples, etc.Question about the first of these aspects, that is, the areas of content, discussed in chapter five, where it became clear that because of the nature of cinema peculiar attraction to genuine physical reality content, covering the scope of history or fantasy, is subject to a successful cinematic treatment only under certain conditions.Therefore, here we will restrict ourselves to the two other aspects of the content. Further, the term "content" will mean only the material or motives, and sometimes both. For simplicity and in the absence of clarification, they should be understood as aspects of the content of feature films related to the field of true reality.Nekinematografichnoe content of As in the form of the story, perhaps, and analysis: the content is better to start with a search for his nekinematografichnyh types. Our task may facilitate short summation of the basic ideas expressed on this subject before.Throughout the book, strongly emphasized that the footage of material things, as it were surrounded by a rim of unspecified value, and that because of their psychological correspondences and associative sense, they are quite capable of draw us into the depths of the spiritual realm.Consequently, the image of the inner world meets the specific film so far as the meaning of psychological processes can kakimto way to extract frames from an external physical reality.The situation changes, which also emphasized before, if the relationship between these two worlds, our life actually gets reversed.Once the items is 345 duhovnoumstvennuyu reality get in the film some independence, they become a factor in determining the content and flow of physical reality; Instead of a stream of thoughts and feelings flowed out subtext images, visuals himself forced to serve the external expression of this flow.Finally, the reader should be aware the fact that the mental reality contains special ingredients that really need to dominate others, or they can not in general be represented in the film, as a hook in the physical world, they have no matches.Nekinematografichnoe content like this kind of components of mental life.