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Fairy tales of the Viennese wood
FILM CHASING LIBERTY In the seventh chapter we have seen that the difficulties arising from nekinematografichnostyu dialogue, in some degree be overcome. Enough to deprive the living word-led, it has ceased to be pure noise;Then the emphasis switches from tenor to content film frames or material qualities of speech. But in this case it is impossible. After the dialogue, which was built largely on speculative reasons, the most important thing is just to the semantic content - that is, reasons that explain the plot full of significant motif.Therefore, the whole structure of the plot rests on the words and their meaning. If they are download the film Chasing Liberty and blurred in the interest of the movies, the main idea of вЂ‹вЂ‹the left unexpressed. In this case, the word must necessarily lead. Abstract reasoning alien screen.Gabriel Marcel, who their non specificity of cinema clearer than someone a different, writes: "Suppose ... I would want to take as a character of the film at the Sorbonne professor in the department of history of philosophy. Of course, I might well have to offer him to discuss the doctrine of Kant.But from the point of view of aesthetics movie it would be absurd. Why not? Because the audience is not going to the cinema and then to listen to the interpretation of theories. " Marcel supplements this remark is not less categorical judgment about the methods that still allow the actor to adjust a level of culture to the demands of the movie."It is clear that the professor of history of philosophy can be characters in the film, but only under certain conditions, or in a restricted context.The focus should be switched to his manner - that is, the way he walks, as sets, and in the case of speech - in its tone and, perhaps, facial expressions, but not in any way the content of what he says. " 347 Tragic. Introduction.The term "tragic" is used here in its strict sense, which is best download the film Chasing Liberty and illustrated by the tragic image of Macbeth in Shakespeare or Wallenstein in Schiller. True, often referred to as the tragic and suffering inflicted on the people by circumstances of serious or unhappy fate. But tragedy is that really the case?When the film "Limelight" aging Culver, rejecting Terry against her will, sacrifices her own happiness for the sake of what might have waiting for her later in life, his withdrawal, loneliness and death rather sad than tragic.There is nothing to do with the tragic hero and gangster who prefers to die in battle with the police than to be caught and punished. Narrative with a tragic conflict can, in terms of the environment and the characters, based on the different materials.But no matter what the subject matter, this material is certainly used to expand the scale of the conflict to a unique event, the psychological reality of huge significance.
FILM CHASING LIBERTY If implemented at all tragic, but only in the form of the leading motive.This feature explains the natural affinity of the tragic story of theater topics such as, higher dignity which, according to Proust's definition of classical tragedy, is to keep only those images, "that facilitate the understanding of its ideas."As the inner life of a tragic event determines the development of the plot in the form of a whole with the idea, most often ideologically focused.