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Is it possible to interpret the term "documentary art" in his non-figurative sense?These questions have caused a new wave of interest in the discovery of Soviet cinema 20s when first acquired Chronicle features artistry. "It appears that the accuracy of the footage and objectivity of its content does not exclude the poetic, subjective interpretation of the documentary material - reflected in the 1970 Lever.- This has been convincingly demonstrated Vertov's films, with the advent of which finally collapsed "information" documentary genre boundaries. " Leave aside the author's bold assertion that the boundaries of the "completely collapsed."For many today, these limits are as immutable as the times when the defenders once and established lines of demarcation art rebelled against the invasion of their land protected, "hronikerakinoka" with the same ferocity as the appeals against members of Lef, said: "We have nothing to Thick wait, because we have our epic.Our epic - the newspaper. "On the other hand, the desire to penetrate the reality Vertov "an artistic purpose, to make imaginative discovery" by the faktografistami regarded as a betrayal of their principles, according to which every reporter "at the end of the pen download the film In conjunction
and carried belletristizmu death", and the report, report and report recognized tops prose stronglyopposed to "irresponsibility obraznichestva" and "excesses metaforistiki." Adherents were not satisfied Vertovhudozhnik fact, while some of those who considered themselves to the rank of artists, ignored Vertovadokumentalista.For decades, the lack of research on the documentary screen human character theorists and critics refer not to the shortcomings, and the peculiarities of this kind of creativity. "Newsreel, like documentaries, shows not only the individual and his inner conflicts, as its living environment", - claimed Krakauer."All of the documentary - truly, all art - fiction" - implicitly declared president of the association kinoobschestv UK Montague in the book "The World of Film" and further explained: "The bottom line is that documentary cinema does not deal with the person as such, but with other objects and processes.If these processes involving people, their presence is only required for performance of their functions, and this kind of activity, and not to analyze their individual properties or categories of human relations. "Meanwhile, just study the individual properties or categories of human relationships and found that a border zone, where the process is most active interaction between documentary and art. Most challenging aesthetic problems converge to a meeting on the documentary screen with a live person."Television portrait - is perhaps the most precious thing I have learned from nearly two years of friendship with the TV ... - Insisted Sappak. Look online
. - A portrait of a character. As a biography. The synthesis of individual and typical. Finally, as clearly expressed to the subject image. As a "genre". "While these discussions were unfolding - a sort of theoretical exploration of the battle, a topographic map of documentary genres underwent major redeployment.