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"The same can be said, for example, about some filming with the movement when the unit slides on persons and objects, seemingly unrelated to the overall effect. Now looking at a possible close elements of life, which requires the viewer completely independent and deep reflection.Previously, we used such passages for the simple didactic conclusion. We used to travel meager furnishings, so that the audience concluded: here live poor. Who can go much deeper categories of thought and feeling, inherent in this passage that can not be so easily defined in dvuhtreh words.Remarkable significance which today is what we call the free movement of the camera. Art reception at which the camera as it is the eye of the viewer, restless movement simulates the view was one of the most important in the aesthetics of modern film. This technique is bound to be mastered screenwriting.It must become an integral part of the poetics scenario. The behavior of the camera should become part of the scenic drama, because the camera can be a hero, it can shake, you can notice it was once considered forbidden. In the "unsent letter" camera became the third member of the pair.In some episodes she does not watch the action from the director's point of view, conventional, and participates in the action, with a distinct attitude towards it. The position of the objective observer, the browser or even the narrator often gives way to "unsent letter" your partner.However, in the "unsent letter" actors do not notice too much party scene, so to speak, the fifth of the geologist. But we can draw action so that the heroes of the screen not only noticed, but also to communicate with the camera. Take, for example, often practiced episodes memories.Remembering the past, people did not see myself from the outside, just can not see yourself, especially on the back: it is almost invisible part of his own body, as I have often download the film Skin and Bone
and regretted. Imagine yourself as an episode of memories when I think of a person is the camera. It is referred to;she answers, it moves to approach people, looks around, frightened or happy. Today, the cinema is going through a stage of development when the "camera position" ceases to be purely directorial prerogative. It can be associated with all sides of the film, including drama.We need to learn how to write a script with a precise vision of the seen material. In expressive frame sometimes lies a thought that can not be unambiguously interpreted and can not always be described literary. It is too ambiguous, too rich in associations, so that it could express a familiar scenario form.Sometimes just passing brings so many different shades of meaning, supporting each other and arguing with each other, that the literary record it becomes a complex task.
FILM SKIN AND BONE
Relationships are complicated script and the film. The problem of literature and cinema turns to us today with new faces.How to write a script - given the new developments in the movie? As in the very conception to use our achievements to date, to determine their Р»РёС‚РµСЂР°С‚СѓСЂРЅРѕРґСЂР°РјР°С‚СѓСЂРіРёС‡РµСЃРєРё, not technology, not speculative, and artistic, sensual, initially, in the scenario ideas?Contemporary scenario - it is often more or polupovest or polupesa or polugibrid Polutov and poludrugogo.