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Fragile false potency, download the film Ru-Ba-Ru
and presented as an allegory of frogs and scorpions. But this is the only chance to art and life, and the chance to Nietzsche, melvillovsky, Bergsonian, uellsovsky ...In "Chronopolis" Kamler show that the element of time is required unusual meeting with a man, and only then will the emergence of a new chegoto. On the other side of description and narration, there is a third instance: the story. Try to give him a working definition, just as we defined the other instance, that is,ignoring the factor of speech. In our view, the story concerns the generalized relationship between subject and object, as well as the development of these relations. In this case, the model of truth finds its fullest expression not in the sensorimotor connection, and the "equating" of the subject to the object. Let us now what the subject and object in a cinema.Objective is conventionally called that "the theory of the Great vi1 falsifiers who invented Nietzsche, appeared in book IVВ« Zarathustra ": among them we find the statesman, minister of worship, a moralist, a scientist ... Each has its own false potency, in addition, they are inseparable from each other.Even the "true man" is the first potency lies in its development passes through the rest. The artist, in turn, is also the forger - but it possesses the potency of the latter false, because it tends not to "accept" a form and make a metamorphosis.Will as the will to power, therefore, has two extreme degree, two polar states of life: on the one hand, "volyahischenie" or "volyagospodstvo" on the other hand, will, identity formation and metamorphosis, "virtue gives."Nietzsche was able to call himself the creator of the truth of the latter view, although his criticism of True remains fully valid. In Melville, we find an equally expressive opposition between form and metamorphosis, В«formВ» and В«shapeВ». DIT "camera, and subjective - that sees the character. This convention takes place only in the movies, but not in the theater.The result is that the camera should see the character itself: one and the same person he sees what is visible. But then, the same camera shows her character is visible, then - a visible character.Therefore, we can assume that the story is the development of two types of images, the objective and subjective - and their complex relationships that can reach up to antagonism, but should be resolved in the identity of the type I = I, in a visible identity and seeing the character, but also and the identity of the "rezhisserkamera" whichsee the character and see that character.
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Sometimes this identity comprehend various misadventures, consisted in showing the false, but in the end, she triumphs, Fogh world the true, even if the character has to die because of this.We can say that the film begins with the distinction between two types of images and ends their identity when establishing their identity. The variations are endless, as both the difference and the synthetic identity can be installed anywhere.Yet this is the basic conditions in terms of cinema veracity of any possible story.