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Fairy tales of the Viennese wood
WATCH THE FILM HEIRS ONLINE .."The pleasure, joy, according to Bergson, is inextricably linked to the very spirit of affirmation of life. Dellyuk picks Bergsonian themes - the cult of novelty, as a factor turns life into art, and the cult of pleasure.He always says in the film spirit of joy, the embodiment of which he sees in his highly valued American comedy or films with Douglas Fairbanks. Part of the cult of novelty world novelty of prejudice and negative attitudes towards traditional arts among Legacy of linguistic clichГ©s.Refusal to fotogenicheskoy beauty beautiful things in Dellyuk also connected with the fact that beauty is inherent in the thing itself and not related to the mechanism of vision, Bergsonian "introduction to the essence of things," which should make a movie.The beautiful thing like blocking mix of external and internal, not allowing the extension to project a sense of beauty to the world. "The beauty of the lines sofa or figurines revealed through photos, not the sum of the individual pieces, - he writes. - It is the same in beings or animals.Tiger or horse will be extremely beautiful in the light of the screen, because they are naturally beautiful, and their beauty is so how to explain. "Thus, there is a photogenic at the intersection of certain properties of the object depicted on the screen and expressive means of cinema, projecting elements on the subject of "internal vision" seeking truth and beauty in the world. Requirements for external properties of objects are logically derived from the general concept Dellyuk.First of all - natural, close to nature and simplicity - no artificial the cultural veil that envelops our world. "Let all the movies will be a natural, everything will be easy!" He exclaims. In American Westerns he especially appreciates the simplicity and plainness of roughness:"Horses and people, yet far removed from the animals, the powerful stress the simple life that allows manifest rhythm, volume, beauty" - "all photogenic concentrated in this." Thing on the screen must be included in the pristine authenticity, so Dellyuk condemns the use of constructed sets.Shockingly, he wrote that in the film "emphasizes the artificial side parts, while only need to provide an opportunity to look at. As a result, the place of truth takes us strange operatic scenery."In his enthusiasm for the subject as a true bearer of truth Dellyuk reaches almost 47 mistichesko46 of worshiping a mysterious and full- blooded sense of things. "Truth, - he writes - is the authentic interiors in these walls." True equates them to the original.This wall could eventually prove to be a carrier of latent and deep meaning.
LOOK ONLINE It is no accident, he constantly draws attention to the film's "Sultana of love" to the quality of the wall removed, and in a letter to Thomas Ince puts a veritable panegyric on the wall: "The Wall. Yes, the wall. Incidentally, the wall - this is what the most photogenic."After an enthusiastic description of the walls in different movies Dellyuk argues that only gives a true volumetric wall people, "all live through this wall, dead, rotten and pompous, made of almost metallic tree." Of course, the choice of the wall as a symbol of faith polemical.For it is as if a wall blocks the vision, takes us back to a kind of blindness.