Film ПРО АД И РАЙ to look online

Cinema thereby becomes not only escaped the essence of the world, but his unmasking, tearing false masks.In this sense, the film is a much more powerful means of social criticism than literature, which has no scope as the fight against the visible and essential.Philosophical aesthetics Mirendorfa pushes him to an unexpected anticipation for 1920 dialectical counterpoint and, in essence, to the intuitive presentiment mounting method. He, for example, writes about the struggle between the demonic eyes of the character and saccharine music accompaniment as a source of meaning, value.But all the 90 91 same basic line of thought Mirendorfa pushes him aside utopian social conclusions, sometimes far from orthodox. Claiming spontaneous, "demosnuyu" basis cinema theorist assures that the movie in its own way, through total panoptichnost. overcome class differences kinoauditorii.But "the real revolution begins on the other side of the class struggle", 13 - he says - in the sphere of culture and thought. Movie turns into a powerful weapon of the new consciousness that can transform the world. The author calls to create ten thousand films against capitalism, "a million of five-minute manifestos" that can overturn an unjust society.Mirendorf believes that the movie marks the end of nationalism, the end of Babel of languages ​​and the establishment of a new universal language that can unite mankind. He is completing his short book Expressionist ecstatic vision of a new world where people silently read "kinoknigi", on which the fate of the world.The proximity Mirendorfa Expressionist outlook, even in the most radical "with" his social utopia is especially evident if one compares the "If I had the movie" outstanding declarations poetaekspressionista Ivan Gaulle, which is the same in 1920 download the film ПРО АД И РАЙ and published his manifesto "Kinodrama."Paris - Lorraine poet and playwright who wrote poems and pofrantsuzski ponemetski and, in 1914 published a collection of poems "The Movies." The idea that poetry is necessary to do such a film is rooted in the same belief about the end of an era and the beginning of the hearing the visual era. Later, in 1924, in his "Manifesto of Surrealism" Goll said:"Until the early 20th century ear dominated the quality of the verse, rhythm, sound, meter, alliteration, rhyme, all designed ear. Conquered in the 20th century eyes, we live in a century of films. More and more we express ourselves through visual signs.download the film ПРО АД И РАЙ and Speed ​​stands today the quality "" Kinodramu "Gaulle begins with the assertion that art is like radium or ozone entered a new element - the movement. This element overturns all laws of static art, mix the once independent of each other space and time, leading to a confusion of forms and genres art.Movement is the epitome of a movie, and change into your cup once dynamic autonomous spheres of art: "The photo epic.Dramatic movement ", a film melds the two, becoming" a moving poetry "This SuperDynamic system ultimately produces a synthesis and a game of opposites - the main mechanisms of a new semantic superiskusstva. This game captures the growing sphere of existence, gradually spreading throughout the world.Gaulle imagines a picture in which artists descend from their attics where they had indulged individualistic creativity, to join this all-embracing, world game. He ends his text prophecy about the movie, as the future of humanity cathedral, like the cathedrals of the Middle Ages.This finale is a clear echo of the "Gothic Renaissance" characteristic of German expressionism.

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Film ПРО АД И РАЙ
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