The section groups films in directors. Here you will familiarize with biographies and films of outstanding directors. The director – the principal person when shooting. Into the task of the director enters to turn the scenario into a film. And success or a film dip depends on the director. It is possible to tell still that the director is the artist who writes scenarios, plots, game of actors, operation of operators and a great number of other people which are anyway involved in process of creation of cinema. The section acquaints with outstanding directors of the USSR, Russia and everything which films make gold fund of cinema. Having selected the favourite director, you receive the list of its films and can watch movies online or download films. As it was already told, the kinomusorka in a bigger measure represents films of the USSR and the Russian films therefore the section on directors as focuses attention on Soviet, Russian and directors of CIS countries. In this section of a site you will meet Igor Zajtsev, Otar Ioseliani, Leonid Gajdaj, Grigory Kozintsev, Sergey Bondarchuk, Rashid Nugmanov, Sergey Snezhkin, Roman Kachanov, Alexander Proshkin, Leonid Pchelkin, Nikolay Dostalja, Tatyana Lioznova, Stanley Kubrick, Roman Polanski, James Cameron and other remarkable masters of the film.
We all argue over who first said "E," and what it means. And we can not agree: each is partly right.But you have to install, why does it say it is the "E", which gave rise to it, then find out what it means - konkretnoistoricheski - and that it is regularly said, because was in the air, and its many said spelled wanted to say etc.It is necessary to restore the real movement of culture, teamwork thought istorikokulturnyh coordinate system to which all were written and which were moving. So, for example, Leonid Kozlov in Riga could not prove that Eisen was not in the "montage of attractions" theoretical manipulation of mass consciousness.He claimed that Eisen was not, first, because the manipulators do not need theory as guided by "market conditions." This, of course, is not an argument.The theory may be their unwritten and empirically found and fixed, not as doctrine, but as a practical guide - in short, the situation Eisen, where instead of prose theory. But our friend was wrong and in fact: the manipulators, such a theory is perfectly designed by experienced personnel.Eisen was not a theoretician of manipulation because the second, Kozlov said that for him, handling the audience's mind was an act of making good outlook. And, alas, this is not an argument. So what?After all, it's not about the content of hammering ideas, in this case, as in the technique vkolachivaniya, mechanics effects in relation to the viewer as a passive, unconscious and spirituality, impersonal, vneindividualnomu potrebitelyuzapominatelyu ready-made formulas, cliches, patterns and stereotypes.(Mao would later say that the masses and people - a "clean sheet of paper", the forerunner of such understanding - the idea of вЂ‹вЂ‹"tabula rasa", but in a completely different context and istorikokulturnom manipulation has nothing to do, apparently, though - to think.) So, the problem, in principle, can not be put, or solve a purely film history.If you look at it broadly, it is clear that one of the first theorists of manipulating the mass consciousness, if you take it to its abstract theory, algebraic level.
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He, like me, began to hate theatrical scenery.Need a simple background for the actor, from which, however, can be extracted endless moods, using a combination of lines, spots of light and so on.Next Gordon Craig said that every work of art should be made of dead material of stone, marble, bronze, cloth, paper, paint, and once and for all time recorded in the art form.On this basis the living material of the body cast, ever-changing, unstable and not fit for work, and Craig denied the actors, especially those who have been deprived of their bright and beautiful personality, that is, on their own were not artistic works, what were the For example, Duse and Tommaso Salvini.Kabotinstva actor, especially in women, Craig could not stand. "Women, he said, and to destroy the theater. They do not use their power and influence on us men. They abuse their female power." Craig dreamed of a theater without women and no men, that is, entirely without actors.He would like to replace them with dolls, puppets, who have neither the actor's habits, gestures or acting or painted faces or in a stentorian voice, no vulgar kabotinskih shower and aspirations;dolls and puppets would purify the atmosphere of the theater, would give the matter seriously, and dead materials from which they are made, would make it possible to hint at that with a capital actor, who lives in the soul, imagination and dreams of the Gordon Craig.However, as it turned out, the denial of actors and actresses did not stop Craig go into raptures at the slightest hint of a genuine artistic talent in both men and women.Feeling it, Gordon Craig was turned into a child, jumped for joy and exuberance from his seat, rushed to the ramp, left around all sides of his long mane of graying hair. But at the sight of mediocrity on stage, he becomes
and enraged and again dreamed of puppets.If it were possible to give him Salvini, Duse, Yermolov, Chaliapin, Moskvina, Katchalov, and instead of mediocrities include the ensemble made his own puppets, I think that Craig would consider myself happy, and his dream of implementation.All these contradictions are often
and confused him and hindered understand its basic artistic aspirations and especially the requirements for the actors.