The four types of synchronization parallelism Synchronous Asynchronous Valid Valid sound I sound III and III B commented sound counterpoint - Full sound II is really sound IV and IV b commented sound 160 Explanation inscriptions to Table: Synchronicity Type I. parallelism. See.an example of Type II. Counterpoint. See. Example of asynchronous type III. Parallelism. Examples will be given below. Type IV. Counterpoint. Examples will be given below. Existing theories. Only now, when differentiated everything pertaining to this topic concepts and terms, I can continue the main line of research with some hope of success.We have to determine the cinematic speech in different variants of its relationship with the image; in other words, determine which relationships it meets the specifics of the movie and what - no. Perhaps it would be best to start with a review of existing theories.Most of the critics is of the opinion that the success of the introduction of sound in a movie depends to a large extent, if not entirely, on the type of synchronization. This does not mean that they do not attach importance to the role provided by speech;as noted above, they usually reject the legitimacy of the rule of aesthetic dialogue, preferring films, in which the role of speech discounted. But they almost never think about the value of the relationship between the role of speech and the nature of the combination of words and visual images.And the attention they give to different types of synchronization, says that they see them as a decisive factor.This is a very common misconception is accompanied by theoretical writings on cinema trends follow the example of Russian filmmakers and theorists that when a sound immediately defended his contrapuntal and asynchronous use.In their joint application, "The Future of sound films," published in 1928, Eisenstein, Pudovkin and Alexander wrote: "Only the contrapuntal use of sound in relation to the enforcement zri161 mounting piece gives new opportunities for the development and improvement of mounting" And in some later article we Pudovkina read: "...not all recognize that an essential element of sound film is exactly asynchronous and not synchronous "with Eisenstein They took for granted that require asynchronous certainly contrapuntal treatment of sound, and vice versa - a counterpoint requires asynchronous.Probably blind faith in the absolute superiority of the combination, do not let them download movie Hubal
and see the other, not less valuable opportunities was generated their passion installation.It is hardly necessary to explain to the reader that this theory provides Russian directors or at least encourages equally mistaken notion indispensable combining parallelism with synchronous Although thirty years of experience of sound film allows modern authors write about it with a deeper understanding of the issue than it was writtenteoriya24 simplified, they still continue download movie Hubal
and to insist on the cinematic merits of asynchronous sound and its contrapuntal use.