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The film was similar in spirit to the "Madame Bovary" by Flaubert, whose work has had a significant impact on the Dulac. Smiling Madame Bede "brings Dulac international fame.The desire to democratize its elegant style and create a quality product for the broad audience of the masses leads to the firm Louis Dulac Nalpasa "SineRoman" where she puts maloudachny serial film "little girl" and the legend of the satirical "The Devil in the city."Interest to the rhythm of "Devil in" obscure interest to treat the impressionistic atmosphere and marks the beginning of a departure from the film in the direction of impressionism "integral sinegrafii." A further step in this direction was the film Dulac "Soul Artist", download the film мио мой мио and staged in conjunction with the director of the acclaimed "Keane" by Alexander Volkov.Dulac here trying to find harmony between the musical rhythm and poetic visions. Temporary deviation from the main direction for Dulac artistic quests characterizes the film "Sabri Antoinette", again made in the firm "SineRoman." Need to work in the field of commerce is growing protests Dulac.In the end, she breaks with firm Nalpasa to completely surrender to the aesthetic experimentation.Dulac puts the scenario of Antonin Artaud's famous experimental tape "Sink and the priest," then ekraniziruet three lines of a poem by Baudelaire in "Invitation to Travel" and, finally, takes three little plotless film "Themes and Variations", "Arabesque, or sketch on Sinegrafichesky Thread one arabesque "and" Plate 927 ".These films - interesting attempt to create a visual analogue music of Chopin and Debussy - are the true embodiment of dyulakovskoy "integral sinegrafii" and the most complete embodiment of artistic intentions of the author.After these experiments Dulac raises another feature film - "The Princess of Mandan," fantasy on Pierre Benoit, and then leaves the art cinema. The last years of her life she gave the work in the chronicle. Dulac died at the end of July 1942.Contribution to the development of Dulac kinomysli France great, although in the bibliography of articles, there are a total of ten titles. Dulac often exhibited a staunch enemy of the cinematic narrative. In reality, it does not deny the ability of cinema to tell a story, but the protests literaturnoteatralnye narrative techniques.Recognizing the major component of the cinematic movement of the image, it shows that the traditional cinematic narrative does not use the specific forms of movement for the movie, and called for the story not from the mechanical unfolding of the plot, but after fotogenicheskoe movement that can, in its view, thinner transferhuman psychology. Dulac said that cinema creates a special sensitivity, mobilizes different than other art, the type of perception. Movement forms, or "visual symphony", as she likes to say, are designed to develop human psychology through a specific cinematic movement.That is why the word "symphony used it, rather, in terms of analogy, unlike Vyuyermoza, who considered the movie almost a new musical form.Cinematic movement Dulac widely understood, it has involved, for example, segmentation when shooting scenes of different plans, that is, in fact, going out of the intra space into mounting.Mounting clashes, according to Dulac, the essence of the narrative method that encourages instant reactivity viewer that allows movies directly influence the perception of the public, bypassing the "cold rationality" influence the plot.It is impossible not to notice in these facilities known affinity kinoteorii Eisenstein with his interest in the installation of rides, and further to a pathetic form.

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Film мио мой мио
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