Film Военная тайна 009 to look online

Quickened to images, you need to gdenibud was a movement - wrote Bergson. - And there is indeed a movement here:it is in the machine. It is because the unfolding cinematic tape, forcing the various scenes pictures serve as an extension of each other, each actor of the stage and is regaining his mobility, he stringing all its successive positions of the invisible movement of cinematic tape.The process, in fact, is to extract all the movements belonging to all shapes, one impersonal movement abstract and simple - so to say, the movement in general, put it in the machine and restore the individuality of each of the private motion by a combination of the anonymous movement of personal provisions.This is the art of cinema "This argument contains the essential points of Bergson. It shows that the film is not playing life in all its individuality, duration, and transitions, but also imposes on the movement of life, being composed of photograms, impersonal and abstract motion movie camera.The device thus acts as a way of life 34 35 abstraction, almost similar to our consciousness. "The perception, thinking, language, act in such a way - he explains. - Whether it is to think becoming, or express it, or even to perceive, we do nothing more than give a kind of internal action cinema.Summarizing the foregoing, we can thus say that the mechanism of our everyday understanding of the nature of cinematic "This provision of French philosopher was of fundamental importance for the development kinomysli.It is the depth of the relationship between human consciousness and the movie camera and allowed to draw an analogy between film and language. Reality, getting on the film, in this case was not just a mechanical replica of itself, but the product of a particular treatment, related to the work of the imagination.In "Matter and Memory" Bergson pointed out that the mere articulation of reality on stationary phases have work of imagination:"The division is the work of imagination, whose function is just comes down to capturing moving images of our everyday experience, as if under the influence of an instantaneous flash of lightning illuminating the night stormy scene" Romantic imagination finally connects with a mechanical reproduction.Emil Vyuyermoz, was strongly influenced by Bergson and refer to it in his articles claimed that the movie is "the fifth art" just because the eyes in it "cuts the space and captures the time inimitable images he captures on the fly, capturing forever the one elusive moment when the nature of genius, "ThisVyuyermoz not only referred to the "Matter and Memory", but clearly had in mind the image of Bergson with lightning and thunder, a romantic by nature. In the same article Vyuyermoz writes a phrase repeated many times in the future French theorists: "Landscape - a state of mind."American film critic Richard Abel rightly sees it as an echo of Bergson's philosophy Vyuyermoz was one of the first theorists to start talking about the transformation of the "silent" nature "talking." The main instrument of this transformation he believed the camera, have a strange mechanical equivalent of consciousness.The camera, in his opinion, can transform the body of actors in the "astral body" It becomes a real tool almost mystical revelation:"The taste for reality must expand to faith in religion things, to open their souls to the vision of a secret pantheism inspires the greatest painters and sculptors of the" head of research department "DeklaBioskop" background Dungern own way summed up the essence of Bergson kinopanteizma: "What is the nature of the film?

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Film Военная тайна 009
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