Performance Black comedy Drama Detective Accident Biography Suspense Eastern Sports Parody Crime Western Action Military Comedy Scientifically popular Melodrama Fairy tales Horror Erotica Adventures Extreme Fantastic Family, children's Anti-Utopia Tragicomedy Tragedy History Animation Thriller Karate Mysticism Musical Cyberpunk Fantasy Documentary
Fairy tales of the Viennese wood
FILM KARAM There are not only the action and its subject, the killer and the victim;there is always a third one, and not just random or imaginary, which can be called an innocent suspect - but the third fundamental, which is formed by the relationship, the murderer, the victim or the action with an imaginary third. This eternal tripling also covers objects of perception and experience.Each image, taken in its frame and through its frame shall be outlining some of the mental attitude. Characters can act, perceive and feel, but can not testify on behalf of defining their relationship. It's just the camera movement and movement towards the camera.Hence the contrast between Hitchcock and the Actors Studio, and Hitchcock claim that the actor acted in The easiest way not to worry in marginal situations - and the rest will camera. This rest is the most important, or the mental attitude.Camera, not a dialogue, explains why the hero of "windows into the courtyard," a broken leg.In the "sabotage" of the camera helps to ensure that a woman, a man and a knife is not just included in successive pairs, but also comes into a real relationship, which resulted in a woman "returns" the man at the crime Hitchcock never fights or doubles:even in "Shadow of a Doubt" two Charlie, uncle and niece, the killer and the girl, according to the benefit of one and the same state of the world, which one justifies the crime, and for the other can not be justified because of the criminals have made in history Hitchcock appears as a film director, making a film is thought of as a derivativenot two: the director and his film - and of the three: the director, the film and the audience, which is to enter into the film, or the audience, whose reactions will become an integral part of the film 'about these two examples, cf.: Truffaut, В«Le cinema selon Hitchcock В», p. 165.79 - and also on the river. 15:"Hitchcock - the only director who can shoot and do for us tangible thoughts of one or more characters, without the need for dialogue." Rohmer and Chabrol two complementary in this regard Truffaut, which only emphasizes the importance of a number 2 in the "shadow of a doubt." They argue that even here there are relations of exchange. 3 T r u f f a u t, p. 14:"The art is to create suspense at the same time the art of retracting the public in the case so that it took part in the film. As for etsya spectacle, film now becomes a game that is played not two, but three. " Jean Soul highlighted this involvement the viewer into the film: В« Alfred HitchcockВ». Ed. de GNegpe.And soul often finds in the ternary structure of the film Hitchcock, for example, in the film "Kseveru by Northwest" - 1,2, 3, and the first really is one, the second double-ka, and the third - three. This is the best corresponds Pierce Trinity.274 Gilles Lelez inoObrazdvizhenie 275 of the mass of excellent commentators inappropriate to choose between those who see Hitchcock deep thinker, and those who think it is just a great entertainer.Be that as it may, there is no need to turn Hitchcock's metaphysics, Platonist and Catholic, as do Rohmer and Chabrol, - or in depth psychology, as does the soul.