film Love in Paris
Elements of it are these - sometimes very numerous, and sometimes virtually isolated. Consequently, the frame is inseparable from two tendencies: the saturation and dilution. More precisely, widescreen and.tlubina frame enabled to multiply the number of independent data, so that the secondary stage appear in the foreground, while the background is deployed main action, - or from the secondary main action is no longer possible to distinguish.Conversely, there are sparse images or when the whole focus is on odnomedinstvennom facility; or if the set is deprived of certain subsets. As we see it, the greatest sparsity is achieved in an empty set when the screen is completely black or completely white.Example - Hitchcock "Spellbound", when another glass of milk is shown in full screen, leaving him the image of a white and empty. But also. thanks to vacuum and through saturation frame teaches us that P .: We as about 1 in i. «L 'experience heretique». Payot, p. 263- 54 55 Gilles Deleuze KinoObrazdvizhenie function of the image not only to view it.The image is read in the same measure as the "look". Frame also has a recording function mediated information - not only sound, but also visually. If the image is little we discern, it means that we simply do not know how to read it and not enough commend his sparseness and its saturation.Pedagogy of the image, when the function of recording information is submitted directly, occurs only in Godard;Frame information is now becoming opaque surface, then hazy saturation, then reduced to the empty set to white or black screen Also, before the frame was always geometrically or physically in accordance with this it forms a closed system with respect to the coordinates or selected variables.Therefore, sometimes thought of as a frame spatial composition of parallels and diagonals as part of a receptacle, where the mass line and occupying his way will find balance, and their dvizhenieinvariant. As often happens with Dreyer;Antonioni, it seems, takes the extreme form of this geometric concept of the frame, pre-existing that it would be inscribed Sometimes the frame is conceived as a dynamic design vdeystvii, inextricably linked with the filling her scenes, images, characters and objects.Method Iris Griffith first insulating face, and then opens and shows the environment; Japanese inspired pattern study Eisenstein, adapting the frame to the subject;Hans variable screen, opening and closing, "according to the needs of drama" and like "visual harmonica" - all this from the very beginning was an attempt to dynamically varying the frame. film Love in Paris
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and understood in two ways: mathematically and dynamically, or as the data before the existence of bodies, whose essence they fix ;or as extending it to the point to which the reach of an existing body.