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Fairy tales of the Viennese wood
movie Love and Punishment It looks like exactly the same things and the natural perception. But this illusion is corrected to perception, because of the conditions that make it possible for the perception of the subject. But in film perception Corrected '«L'evolution creatrice», p. 753.We quote the texts of Bergson on so-called "on the centenary edition"; in parentheses denotes the pagination recent edition of each book. 42 Gilles D ele'z KinoObrazdvizhenie 43 by the synchronous appearance of the image, but the viewer sees the displayed unconditionally.In short, the movie does not add to the image of the movement, and gives us directly obrazdvizhenie. Despite the fact that it enables us to cut, slice it is mobile, it is not a fixed slice + abstract movement. Again very interesting that Bergson, we can say, discovered the existence of these mobile sections, or "obrazovdvizheny."And he opened them up to "Creative Evolution" and before the official birth of cinema - in 1896, in his book "Matter and Memory." The opening of "obrazadvizheniya" perceived outside the natural perception, was a wonderful discovery of the first chapter "Matter and Memory." Whether or not to believe that ten years later, Bergson had forgotten about him?Or he succumbed to some illusion that turned the idea of things already at its origin? It is known that things and people are forced to "hide" doomed "hide" before the manifest. And how could it be otherwise?After all, they crop up among many, in which previously were not included, and therefore, not to be rejected, should bring to the fore the qualities of the set that they retain.So the essence of things never seen when it occurs, but always - in the "middle" of its existence, in the process of its development, after her powers grow stronger.And that Bergson knew better than anyone else, because he transformed philosophy, raised the question of the "new" instead of the question of eternity, for example, he argued that a new life could not have come at its source, as first life was forced to imitate matter ... Is not that also the case with the cinema?Is the cinema at the dawn of its existence has not been forced to simulate natural perception? What was then the state of affairs in the movie? On the one hand, the survey has been fixed, which means that the spatial and formal stiffness of the plan;on the other hand, the movie camera "mixed" with the projection unit and worked with abstract and uniform time. Evolution of the movie, the acquisition of a private entity or a novelty occurred due to installation of mobile cameras and recording a loss depending on the projection.
movie Love and Punishment After this plan ceased to be a spatial category, becoming in time; sections also became mobile. Here togdato cinema and found those "obrazydvizheniya" the first chapter "Matter and Memory." It should be noted that the first point of the motion of Bergson's more complicated than it seems at first.On the one hand, it is a critique of various attempts to restore traffic using the covered space, that is, by applying a fixed snapshot of an abstract time.