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On the other side of description and narration, there is a third instance: the story. Try to give him a working definition, just as we defined the other instance, that is,ignoring the factor of speech. In our view, the story concerns the generalized relationship between subject and object, as well as the development of these relations. In this case, the model of truth finds its fullest expression not in the sensorimotor connection, and the "equating" of the subject to the object. Let us now what the subject and object in a cinema.Objective is conventionally called that "the theory of the Great vi1 falsifiers who invented Nietzsche, download the film Erotik film and appeared in book IVВ« Zarathustra ": among them we find the statesman, minister of worship, a moralist, a scientist ... Each has its own false potency, in addition, they are inseparable from each other.Even the "true man" is the first potency lies in its development passes through the rest. The artist, in turn, is also the forger - but it possesses the potency of the latter false, because it tends not to "accept" a form and make a metamorphosis.Will as the will to power, therefore, has two extreme degree, two polar states of life: on the one hand, "volyahischenie" or "volyagospodstvo" on the other hand, will, identity formation and metamorphosis, "virtue gives."Nietzsche was able to call himself the creator of the truth of the latter view, although his criticism of True remains fully valid. In Melville, we find an equally expressive opposition between form and metamorphosis, В«formВ» and В«shapeВ». DIT "camera, and subjective - that sees the character. This convention takes place only in the movies, but not in the theater.The result is that the camera should see the character itself: one and the same person he sees what is visible. But then, the same camera shows her character is visible, then - a visible character.Therefore, we can assume that the story is the development of two types of images, the objective and subjective - and their complex relationships that can reach up to antagonism, but should be resolved in the identity of the type I = I, in a visible identity and seeing the character, but also and the identity of the "rezhisserkamera" whichsee the character and see that character. Sometimes this identity comprehend various misadventures, consisted in showing the false, but in the end, she triumphs, Fogh world the true, even if the character has to die because of this.We can say that the film begins with the distinction between two types of images and ends their identity when establishing their identity. The variations are endless, as both the difference and the synthetic identity can be installed anywhere.Yet this is the basic conditions in terms of cinema veracity of any possible story. "In another form of the story called into question not only the distinction between subjective and objective, but also their identification.Here great predecessor criticism true story again proved Lang American period this criticism resumed and continued Wells beginning with "Citizen Kane", where razli1 Some directors we find a very clear exposition of the foundations of initial conditions, the more clear if the above mentioned authors have as their to theseconditions to overcome. So, Beckett, in connection with the "film", says that should differ chat what the camera sees OE, from what he sees on the character, "a perception of OE in whom Nate and perception about the room":should be careful to avoid double tax tion plans and staff at each other, and mark a qualitative difference between the two varieties of images - and so to the final identification of OE and About.And, for example, Godard in "Two or three things, which rye I know about it", is an object that the camera sees, the subject - that sees the character, and adds first and second, 1 2 = 3 to get the final the identity, 1 2 3 = 4, that is life.Pasolini also highlights the dual nature of the movie, when it shows the point of view of the character, the director himself, "a movie once and to the extreme and subjective but, and it is objectively," and these two elements are inextricably bound up to the identification.2 On this issue, we refer the reader to the detailed analysis of Humphreys Reynolds (Humphries.

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Film Erotik film
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