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Fairy tales of the Viennese wood
film Il Ji-Mae In order to ensure proper understanding of the problems of the film adaptation, we consider the theory of French aesthetics Etienne Souriau. In his book "Filmologiya and comparative aesthetics", he argues that the novel has four formal properties stubbornly defy translation into the language of plastic images.Apparently, he writes about it, he sees the main source of the difficulties the film adaptation in them These special properties of the novel occur in the interpretation of such elements as, first, time second, the pace, third, and space, 307 Fourth, the angle of view. I will comment on only the first and last of these elements. Time.The flexibility of the novel in dealing with all kinds of measurements of the Souriau contrasts the time constraint of the film. Noting that a novelist can, for example, imagine kakoeto action as usually happens, may deliberately specify the date of its beginning, to relate, when he pleases present with the past, and so on. N., Souriau argues that all this is not possible in a movie. What is happening on the screen is inevitably stamped "immediacy." The only trick to give the film an idea of the past, this insert a scene from the past - that is, welcome "return action", which, according to Souriau, rather clumsy.And yet, although the movie does not have the same mighty power over time, like a novel, the film is much broader capabilities than willing to admit Souriau. The gesture, which is one of the gangsters in the film "Scarface" tosses a coin in twenty-five cents, said that he plays it, and when we do not look at him;We immediately understood that it was his obsessive habit. In the film "Pather Panchayat" series of chronological sequence of episodes is presented so that the viewer all the time there is a desire to relive what it was before. His thoughts and feelings are rushing back and forth;in his imagination, he weaves the fabric of time, having little to do with the time sequence of episodes. And immersed in its internal sense of time the viewer is unable to, and does not want to establish a genuine history passing before his eyes the event.They flow, without succumbing to clarify, in the temporary space, which is closely intertwined past and the future. The "October" Eisenstein identifies whole passages by award such as frames drawbridge - giving them a timeless action;and, as John Reed in his novel "Ten Days That Shook the World", he tightens them with the intention to enhance the viewer's emotional response or to suggest to him some political thought.Many feature films, otherwise insignificant, 308 sequential course of action is suddenly interrupted, and kakoeto brief moment it seems as if stopped clocks: otkudato from the depths of nature, which does not keep account of time, the camera is pulled out and showed us a large and detailed plan of strange shapes and a combination of various fragments.
film Il Ji-Mae In the movies are not uncommon and false scenes, the action returning to the past, the past is not just resurrected, but organically included in the present.