Existing theories. Only now, when differentiated all download the film Legionnaire
and related to the subject concepts and terms, I can continue the main line of research with some hope of success.We have to determine the cinematic language in a variety of its relationship with the image, in other words, to determine in which relationships it meets specific movie and what - no. Perhaps the best way is to start with a review of the existing theories.Most of the critics is of the opinion that the success of the introduction of sound in the film 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 aesthetic legitimacy of the rule of 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 the speech and the nature of the combination of words and visual images.And attention they give to different types of timing suggests that they see them as a decisive factor.This is a very common misconception is accompanied in the theoretical writings on cinema trends follow the example of Russian filmmakers and theorists that when a sound at once defended his contrapuntal and asynchronous use.In their joint application "Future sound films," download the film Legionnaire
and published in 1928, Eisenstein, Pudovkin and Alexandrov wrote: "Only a contrapuntal use of sound in relation to the relatively zri161 mounting piece assembly provides new opportunities of development and improvement," and a few later article we Pudovkin read: "...not all recognize that an essential element of sound film is exactly asynchronous, not synchronous "with download the film Legionnaire
and Eisenstein They took for granted that require asynchronous necessarily contrapuntal treatment of the sound, and vice versa - a counterpoint requires asynchronous.Probably a blind faith in the absolute superiority of the combination, do not let them see the other, not less valuable opportunity was generated their passion mounted.I hardly need to download the film Legionnaire
and explain to the reader that this theory provides Russian directors, or at least encouraged as a misconception indispensable combined with synchronous parallelism Although thirty years experience of sound film allows contemporary authors write about it with a deeper understanding of the issue than it was writtenteoriya24 simplified, they still continue to insist on the virtues of asynchronous cinematic sound and its contrapuntal use. Look online
. A major argument in favor of Pudovkin this provision still enjoys wide support.It protects both asynchronous and counterpoint at the same time, based on their more consistent nature of our auditory and visual perception of reality of life, while the parallelism, in his opinion, is not so typical, as we tend to think.As proof Pudovkin leads his hypothetical example with a cry for help, wafting from the street that continues to resound in our ears, drowning out the noise of traffic and when we looked out the window, we see passing cars and buses.