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.
DEPENDENCE OF HEIGHT OF THE CAMERA - Actor height of the camera affects the image.Usually the lens is always but the same height as the actors, whether they sit or stand. If an actor is, and the other sits on the camera height may vary when shooting in opposition. Previous examples have used an external confrontation cameras for such surveys.If the same survey used internal conflict cameras, respectively raised or lowered, as if presenting a vision of the scene through the eyes of each actor. 57 56 .18 Different heights placing the camera in a pair of two internal kontrplanov. .16 Two of the camera - on the same level as you shoot the actors. .17 The height of the camera in each plan should depend on the height of the actor in the scene. 58 .19 When both cameras are located on the lower level, there is some discrepancy between the actors.59 If the camera is very sharp moves vertically, the effect is surreal filming because of the very bottom or the very top of the can not normally see the other characters. These angles should be used only in the most important plot points and in special cases.In other situations where both actors are, we can achieve the contrast in height simply placing the camera below to obtain two master plans by the method of external opposition. One of the two actors standing can be identified in the plan by placing the camera on a method of external opposition, but on the level of discord in height.Figure 20 The combination of high and low of the camera is the release of one of the actors. The line of interest does not have to be horizontal.When one of the actors is in the supine position, while the other stands and sat down on his knees and used for the filming of the triangular principle of placing cameras, position 1 and 3 are located in front of the actor's head, and yet at different heights. 60 It is also possible and the line of interest, extending vertically.Each actor's head is
and removed from the vertical position. Rice, 5.21 vertical line interest is a triangular placement camera shown.
So, hronog Signum constantly renewed in lektoi noosignumah.But if you follow a different direction, whether present, in turn, act as a time in general? Yes, this is possible, but only if we are able to separate it from its own relevance, in the same way as we distinguish the past from his obrazavospominaniya actualized.If this actually differ ^ differs from the future and the past, the reason for this is that it seems a predg presence of a phenomenon that is just no longer there when it is
and replaced by another phenomenon. The past and the future "talk" to each other about a phenomenon is in relation to this particular phenomenon.And then we walk along the
and chain according to different events clearly expressed time or full of shape sequences, according to which the various phenomena take this one by one.All will go girlfriend, if we "settle down" in an individual event, lost in cooking, what is happening and disappearing event, or if we replace the term pragmatic latitudinal pattern purely optical - vertical, or views in depth.Then the event will not merge with any space that serves him a place with no current passing this "hour event expires before the event ends, and then the event is
and resumed at a time ...;every event, so to speak, is the time where nothing is happening, "and just as empty time we predoschuschaem recollection unscramble what is relevant, and places the memory after it was formed in it already 1 quoted us an excellent full text Gretheyzena otzvu kami of Peggy andBergson. Thus, in the В«ClioВ», p. 230, Peggy writes about the difference between stories from memory: "History, in essence, is located in the east-west direction, while the memory of a purely vertical. The essence of the story - in passing along the event.The essence of the memory - to be inside the event that first of all do not go out of it, staying
and within it - and to get back into the event. "But Bergson proposed scheme, which can be
and called its parity ^ Werth scheme of time, and it serves the distinction mezh1 do spatial vision, following along with being, and vision of time, in the event sinking: MM, p. 285. Eng.