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on the level of the director's work with staff working image of a man in many respects the same as in other cases - the same close-ups, the same installation or kakielibo other, already familiar tools. However, our perception of acting these typical forms of cinematic language creates a special situation.Known position of the special role of facial expressions for the cinema - a particular manifestation of the ability to focus the viewer's attention is not on the whole figure of the actor, and kakihlibo its parts: the face, hands, details of clothing.About the extent to which the installation may be perceived as playing an actor, known experiments show Kuleshov, who in 1918 joined the same photo person Mozzhukhina actor with several emotionally opposed subsequent frames.Viewers of this experiment enthusiastically spoke about the richness of facial expressions of the actor, not knowing that the image of his face remained the same - the only change is their reaction to the montage effect.The ability to share the human form of cinema with "chunks" and build these segments into a coherent temporally chain makes the appearance of man in the narrative, which is characteristic of the literature and the theater is absolutely impossible.If an actor mime gives us the type of non-discrete narrative, the same type of theater in this respect, the story is based on the type of director of the literary: discrete parts are connected in a chain. Another feature of this aspect in common "man on the screen" with "the man in the novel" and distinguishes it from the "man on the scene."The possibility of delaying attention to detail kakihto appearance consolidation plan or duration of the screen, as well as their re-image, which is not present on the stage or in the painting, gives kinoobraz parts of the human body metaphorical meaning.We have already said that in the eyes of "Strike" Eisenstein become the conscience of humanity. In the same function uses them Romm in "Ordinary Fascism", increasing the cards one by one with the personal affairs of the victims of Nazi death camps and screening his eyes, eyes ...Actor on stage can beat certain aspects of their make-up, the portrait by Rembrandt or Serov's hands, eyes become especially important details. But neither the artist nor a painter can not belong to an separate part of the body and turn it into a metaphor.When the film adaptations of the text intended for the theater sometimes overlooked that harping on the same details appearance on stage and on screen semantically adequate. As it happens, for example, in the film adaptation of Bondarchuk's "Othello":spectacular detail - stretched across the screen to kill the palm - seemingly stems from the constant return to the theme of the play of hands. However, becoming part film narration, she suddenly seems to the director himself, turned into a clearly distorting the image of Othello metaphor:Moor appeared before the audience a killer, not suffering, and bloodlust became his dominant trait. my film myo myo.Not accidentally Eisenstein when he took "crazy eyes" Mgebrova, undertook unprecedented efforts to find in wartime evacuees and patient artist, deliver it to cure and put in front of the camera. So there is a curious paradox.The image of the person on the screen very close to life, consciously focused on the removal of theatricality and artificiality.And, at the same time, it is extremely - much more than on the stage and in the visual arts - semiotichen, saturated secondary values, appears to us as a sign or signs chain bearing a complex system of additional meanings.

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Film мио мой мио
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exit Date on screens 00.00.0000
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