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Fairy tales of the Viennese wood
FILM SCHOOL OF FAIRIES Krakauer in published a monograph in which - "The nature of the film.Rehabilitation of physical reality "- is concentrated essence of the author's approach. This work, in fact, was a kind of postscript kinomysli give priority screen reproductions of reality. For in the early years of the crisis became apparent such theories and required a radical revision of the critical methods.So, Moran, see "Movie, or imaginary people" insisted that the film industry is not possible to state categorically about realism or irrealism. According to the author, should be considered in these dialectical unity of opposites.Italian critic and screenwriter Aristarko in his "History of film theory" proposed that the overall strategy of cinema: to study not directing personality, not cinematic art as such, but a particular type of culture. Not immediately, it became clear that this - the screen culture.But it was obvious radical change of social and cultural context. KoenSea, leader of the "Sorbonne film studies school," published an article "Current film and visual information," in which he emphasized that the film develops in the media and popular culture, and formed around a man threatening ikonosfera.In the 1960s, film history idea received a boost - becomes dominant semiotic approach.One of the initiators of such a change in the study of film language was Italian director Pasolini, bring about a scientific debate among experts in the field of linguistics and structuralism, which, however, it was not possible to isolate the smallest unit of film language.French scientist Metz tell the difference between a spoken language and cinema: a dictionary of any language contains a limited number of words, of which the speaker chooses the right, and the number is infinite, and each film images - a neologism. Therefore, to talk - it's ready to use language, and film - to create.Semiotics of Film Studies naturally closer to structuralism and then - to post-structuralism. Here was the original concept is not cinematic and screen imagery. Especially because at this point is definitely clear that the cinema was the launching pad for the intensive development of the whole screen culture:television, video art, digital art. Recently, scientific, theoretical and practical research is concentrated in a single area of вЂ‹вЂ‹audiovisual culture, where the screen is not just a passive carrier of images, but becomes an artistic element in a "text."Returning to the logic of the interaction of reality and its screen reproductions, you can try to identify the main stages of the evolution of audio-visual arts: cinema - the illusion of reality, TV - a parallel reality, digital art - alternative reality of cyberspace.Today, the art-science clearly expressed trend toward integration: the desire to move from the private "internal" problems of individual sectors in the study of typological features and system factors in the context of whole "families" and arts groups - traditional, man-made, synthetic, screen, media, etc.This trend is related, first of all, to the specifics of the development of modern art.To study these phenomena of artistic reality, not previously covered the science of art, and at the same time, take a look from a new point of view on some of the traditional problems of art with the trends of the humanities, in particular allow comparative studies.Complete analysis of a feature film in cinema studies consistently maintained the approach to the analysis of the content aspect of a feature film at the expense of formal.