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Pasolini analysis ziruet creativity Antonioni, Bertolucci and Godard, but the origins of the story of this transformation may be traced back to Lang and Wells. \ We would like to address one aspect of this new type of story as it is presented in a completely different area.If we are one of R 1 as in I, В«L'experience heretiqueВ», p. 147-154: "psevdorasskazy written in poetic language," The main feature of this new poetic cinema is "give a sense of the camera," while former prosaic film could reach.highest 'poetry content, but nevertheless remained download the film мелодрамма and paired with a classic story, where the camera should formally forget.kzhanram turn, has long been rejecting fiction, we have to state that the film is sometimes claimed to be the reality of the objective demonstration of real environments, situations and characters, and inogdana subjective methods of showing the world specific to the characters themselves, how they see their own situation, their own environment , their problems.Generally speaking, the first pole can be download the film мелодрамма and called документальноэтнографическим, and the second - исследовательскирепортажным. And he and the other genre have their own masterpieces, and there are movies where the features of these genres are mixed in different proportions.But if it rejects fiction cinema and finding new ways, it still retains and elevate the ideal of truth, depended on the fiction of the film: there is that the camera sees what the character sees, and the possible antagonism and necessary resolution of this conflict.Moreover, the character retains or acquires a degree of self-identity, depending on whether he himself had seen, or seen it in camera. And self-identity was rezhisserakamery, acted as an ethnographer, or a reporter.And it's very important to be present in advance is considered rejected fiction to the reality that the movie could catch or find. But the truth was rejected in favor of. Real model while preserving the truth, the download the film мелодрамма and alleged invention and ianego stems.That is what Nietzsche ^ IEG proved that the ideal is the deepest real fiction, located in the heart of the real, the cinema has not yet found. Truthfulness of the story continues to be based on fiction.When applied to a real model of an ideal or truth, things have changed because the camera has a certain appeal to the pre-existing real - but, on the other hand, in the story did not change anything: the objective and subjective were displaced, but not download the film мелодрамма and transformed;self-identity are defined differently, but there were certain, as the story was true, real and not fictitious. Only the truth of the story itself has not ceased to be fiction. The gap is not between fiction and reality, but as part of a new type of story that has an influence on the one and the other.The change was the beginning of the 1960s, in a totally independent of each other spheres: the "direct cinema" Cassavetes and Shirley Clarke, in the "cinema experienced" by Pierre Perrault and "Kino" Jean Rouch.For example, when Perry criticizes fiction of all kinds, he has in mind is the sense in which the invention generates a preset model of truth, a priori, expressing the dominant ideas or point of view of the colonizer, even if the director of the film fabrication.Fiction is inseparable from the "worship", Gilles Deleuze vydayu462 KinoObrazvremya 463 schego him the truth - whether in religion, in society, in the movies or in the systems images.

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