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This way, moving himself and "in itself." And therefore, in this sense, it is neither figurative nor abstract.At first glance, it is the case with all artistic images - and Eisenstein continually analyzes of Leonardo and El Greco, as if it were the cinematic images. But in itself it is certainly picturesque images remain fixed, which means that the "production" of the movement is the task of the spirit.Choreographic and dramatic images also remain closely tied to the moving body. Artistic nature of the image is realized only in cases where the movement is automatic, the idea undergoes a shock, in the cortex of the brain begin vibration, and cerebral nervous system are touched directly.As the cinematic image "commits" the movement itself, because it does what the other arts only demand, it absorbs the essence of other arts, is their heir, uses images of another kind in native mode, gives the power of what was only a possibility.Automatic movement awakens the spiritual automaton, and he, in turn, react to it. "In contrast to classical philosophy, spiritual automatic means not logical or abstract possibility formally withdraw some thoughts of others, but a pie chart in which they come together with obrazomdvizheniem, the overall potency of the fact that the forces of thinking, and that thought under the influence of shock : nooshok. Heidegger wrote:"A person is able to think, to the extent to which it is capable of, but this possibility is not a guarantee that we are capable of this," and the movie, giving us a shock, it claims to, to give us this ability, this potency and not merely the logical possibility. Movies like, tells us:with me, with obrazomdvizheniem, you can not avoid the shock that will awaken in you a thinker. Subjective and collective Machine automatic movement: that is the "mass" art. Everyone knows that if whatever kind. art of producing shock and vibration, the world would have changed long ago, and people would be thinkers.However, this claim of cinema, or at least its greatest pioneers of today brings a smile. They believed that the film can cause shock and transfer it to the masses of people. But they predoschuschali that cinema face with all the ambivalence characteristic of other forms of art - that it."Zavolokut" experimental abstraction, "formalist clowning", as well as commercial sex and figurative blood.At worst, the movie shock mixed with figurative violence download the film Karam
and portrayed in place in order to achieve a different kind of violence inherent obrazudvizheniyu extend their vibration in a moving sequence that permeates and spectators.And - even worse - the spiritual automaton risked becoming a mannequin exposed to all kinds of propaganda art for the masses has already demonstrated the instability of its appearance We, therefore, see that the potential or ability to film, in turn, "have found that they are the logical possibilities prostonaprosto .And, at least, has found a possible new form here, even if the people is not enough, and only thought was to occur.