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Fairy tales of the Viennese wood
FILM DESIGN OF DEATH Thus provides an indirect way of installation time, just in a specific type of obrazadvizheniya and within the film as a whole.On the one hand, it is now a variable, on the other - the infinity of the future and the past. We believe that the various forms of installation determines differently these two aspects.Alternating current can turn into the interval, a qualitative leap, rhythmic unity, intensity, and the whole, organic whole - to become dialectical totalization, immensely download the film Design of death and exalted totality of mathematical, or intensive totality dynamic sublime.Later we shall see that such an indirect image of time and what in comparison with him chances obrazavremeni. So far, it is clear that:If it is true that obrazdvizhenie has two faces, one of which faces the sets and their parts, and the other - in the direction of the whole and its changes, the questions should obrazudaizheniyu it as such, in all its varieties, and both its faces.Chapter W Obrazdvizhenie and three varieties of one historical crisis psychology coincides with the time when it was no longer possible to place the images in mind, and movements - in space. Up to this time only in the mind and will have that the images quality and unextended, but in space-only movement, length and quantity.But here is how to move from one order to another? How to explain that yes netnet movement and produce an image or an image that makes the movement? To refer to the brain? But then it should be given miraculous powers. Besides, how to prevent the movement of at least be virtual image, and the image - if possible move?What seemed to be a dead end, ultimately came down to a clash between materialism and idealism, when the first order sought to present consciousness through purely material movements, and the second - the order of the universe through the unalloyed images of consciousness This rasscheplennost image and movement, consciousness, and the subject should overcome any price.And so, in the same period for this task took two completely dissimilar philosopher Bergson and Husserl. Each of them threw his battle cry: all consciousness is consciousness chegoto or all consciousness is something.No doubt that the former position has become impossible due to many external to the philosophy of factors. Social and scientific factors gradually filled the life of consciousness movement, and the material world - images.So, as we now do not take into account the film that emerged in the same era, and is going to provide evidence of their own obrazovdvizheny? True, Bergson, as we have seen, clearly considered cinema false ally.As for Husserl, as far as we know, the film does not mention at all (there can be replaced by 'This was the most general topic of the first chapter and the conclusion of the "Matter and Memory."107 KinoObrazdvizhenie It is noteworthy that Sartre, for many years to inventory and analyze disparate images in the book "Imaginary" ', ignored the cinematic image.) If anyone benchmarked cinema and phenomenology, so it MerloPonti, and he saw in a movie false ally.Yet the grounds download the film Design of death and cited phenomenology and Bergson, so dissimilar that a clue us serve their very opposition.