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This "archaeological prejudice" is the notion that creative originality can be squeezed out of the textbooks on the history of art, was a "ceiling" for so many members of our own critics.In those years, they are quite serious, with deep conviction, thus perform its social function, download the film Little Krishna - Vrindavan Lover
and quoted Simone Martini and Giambattista Vico in the reviews of the movies and Mastrochinkue3 Guatstsoni It's misleading criticism restrict development and some aspects of our production during the war.Kalligrafizm born from the same desire to bring cinematic style of ethnic identity through the book hints, which was a requirement of culture, not only cinema, but culture in general culture in the broadest sense.The result of this tendency, where it was not based on the relevant fantasy essentially rendered decorative. The term "kalligrafizm" proposed with obviously mocking intent, just alludes to this barren penchant for abstruse arabesque.Here we consider how kalligrafizm for without going into the merits of the individual works, among which could appear remarkable in themselves valuable achievements. Such an orientation of production, however, also contributed to the extra-artistic factors and order, in particular political coercion.In the years of fascist rule Film Production is subject to strict censorship control. Stories involving specific, social problems or inspired too harsh realism is not allowed.However, with the approval of the Italian cinema course decorative "book" origin intensified that process of joining the Italian cinema of the intelligentsia, which began about the year 1930, when the "Chines" came Cecchi Despite the bias in decoration, the contribution of the intelligentsia was still positive fact for our cinema,as the means to overcome the level of craftsmanship that is determined by experience of regionalism. . Intellectuals contributed to the Italian cinema more specific spiritual needs of a more mature aesthetic consciousness. However, and very well known calligraphy products, despite the paucity of their undoubted achievements, was a step forward.The search for a kind of style, even if it differed too cold rationality and addressed to vnekinematograficheskim sources of inspiration were eventually themselves through courage, an indicator of prevailing artistic consciousness.However, despite the inaccuracy of the method, the search led eventually to achieve kakihto valuable and original results in the desired sense.As already once said Antonio Petrandzheli8 a rather interesting study that has proved useful in clarifying our thoughts, these so- called calligraphic quest could lead eventually to a series of discoveries of a kind Italian landscape."As far as searching for a style, - writes Petrandzheli - our filmmakers have come out of the pavilion, and gradually winning Italian landscape, has successfully penetrated the reality of his age and the problems of the country, being able to express them only in these last few years." And further: "...even these directors from the ranks of the intelligentsia, by nature prone to aestheticism matured vague desire to portray the living, not the conditional Italy.