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Fairy tales of the Viennese wood
Our faith can have no other object than the flesh, and we need a very unusual argument to believe in the body. We must believe in the body, but it is in the germ of life, as in the ovary, which would shine on all hail;in the body, which is stored and remains for ever in the Holy Shroud or bandages of mummies and in the body of evidence in favor of life in this world, it is. We need at least kakayato ethics or belief that causes laughter in idiots;and it does not need to believe in something else, but the need to believe in this world, to which also belong to the idiots, like we do. This is the first aspect of the new film: sensorimotor communication gap, but on a deeper level - the relationship between man and the world.A second aspect of the refusal of the figures - by metonymy, no less than from the metaphor, but on a deeper level - shift inner monologue as signaleticheskoy matter cinema.For example, about the depth of the frame in the form in which it is administered Renoir and Wells, you may notice that they paved the way for a new film, is not a "figurative" metaphorical or metonymic, and more demanding, more binding, as if teorematichesky . This is what he wrote Astruc:depth produces a physical effect snowstorms, then it brings the characters to the camera, it takes them away from the camera, and not what leads them along, then across the frame, but it is inherent in the mental effect of the theorem, for scrolling the film, she is the theorem, and no longer sees it as an association of ideas;it makes the idea of вЂ‹вЂ‹inherent image Astruc himself learned the lessons of Wells kamerapero rejects metaphors and metonymies mounting - she writes by trevellinga, hitting the top and bottom, approaches from behind, she is building a certain structure.Metaphor and metonymy is even irrelevant, since the need inherent in the relations of thought, replace the adjacency relationships between images. If we ask which of the directors on the other teorematichesky passed this way, even apart from the depth of the frame, then the answer is: Pasolini.Undoubtedly, all of his work, especially the films "theorem" and "120 Days of Sodom", can be considered as a geometric proof in action."Theorem" and "Sodom 120dney 'claim to it in order to force the idea to follow the path of his own need, and bring the image to the point where it becomes automatic and deductive - and replace formalized thought- chain representative or figurative sensorimotor circuits.Is it possible that the film thus reached a truly mathematical rigor that address not just the image, but the thought of the image, in the image of thought?This is the cinema of cruelty, which Artaud said that he "does not tell the story, and develops a sequence of states of mind, some of which are derived from the other, as the thought - of thought," But is not this the way most explicitly rejected Artaud, is not that the concept of spiritual machine, which he download the film Red and refused on the grounds that itstringing thoughts with only a formal power, thus giving them a model of knowledge?