FILM СИМФОНИЯ ЛЮБВИ
And, undoubtedly, among the contemporary critics Bonittser is more interested in other term of the plan and its evolution. We Xia is that his very thorough analysis justifiably brought him to a new concept of the plan as a coherent unity to the new concept of unity.Yet he draws from it rather doubt the validity of the concept plan and denounced its "heterogeneous HYDRATED, ambiguous and, at bottom, naduvatelsky character." Only then we can not agree with him.72 Gilles Tselez sponsible two requirements relate to the whole, the changes it expresses throughout the film, as well as correlate with parts whose shifts within each set, and from one set to another, it defines. Very clearly these two requirements download the film симфония любви
and expressed Pasolini.On the one hand, he says, the whole cinema is one and the same analytical planepizod, rightly theoretically unlimited and continuous, on the other hand, the film is essentially discrete, dispersed and scattered plans, among which it is impossible to establish kakuyulibo connection.So, the whole must be rejected own. ideality and become a synthetic whole movie, realized in the assembly parts;part, on the contrary, it is necessary to select and coordinate, and apply in the connections and relationships that restore virtual planepizod or analytic whole movie with mounting Yet this redistribution is neither de jure nor de facto. De jure idefakto there are two aspects that express the tensions as the unity of the plan.On the one hand, and of their sets are relatively continuous and is download the film симфония любви
and performed by means of subtle coordination, with camera movements, through actual planyepizody with depth frame or without.But there are always more and bills, or, tears, even in cases where continuity is restored "hindsight" - and they are quite clearly show that the whole is not here. Whole comes into play from the other side is a different order:this is what prevents the sets close on themselves or on others and a sign of openness, can not be reduced as a continuous and a gap between them. It appears in the measurement duration, which varies, and changes constantly, and the installation of false connections, which are one of the major poles of the movie.The false connection can act in one of the set or in the transition from one set to another, between two planamiepizodami. And just so it would be a mistake to say that only planepizod interiorizuet installation in the filming, but rather, planepizod poses special problems mounting.In a conversation about mounting Narboni, Sylvia Pierre and Rivett asked what had become of Gertrude, where her affairs Dreyer? Watch the film симфония любви online
. And they answer, went to the mounting pasting false connection is neither a continuous connection - 73 KinoObrazdvizhenie ti or break or interruption.The false connection itself is one of the dimensions of openness that eludes sets and their parts. It sold another possibility offscreen events that place or an empty area, the "white on white, which can not be download the film симфония любви
and captured on film." Gertrude went to what Dreyer called the fourth and fifth dimensions.False connection does not violate the whole, but there are under his influence and drive a wedge in the set and their parts, but that the original compounds, they show the opposite trend, trend pieces and set to reunite with eluded them whole.