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He put only one film, but did not want to put others preferring postsyatit themselves to creating a production and training of its members:In "Grenton Trawler" he appears as an operator in the "Industrial England" - as the co-director Flaherty.In Grierson we see first teacher, mentor young people, to which he refers, and representatives who worked with him from 1930 until the Second World War, although not always, these young filmmakers follow his theories.( Grouped around him, in particular, Basil Wright, Arthur Elton, Stuart Legg, John Taylor, Harry Watt, Donald Taylor, Edgar Anstey and Paul Roth, from abroad, he invited Flaherty, Ivens and Cavalcanti). About Grierson can say the same thing as talking about Ibsen and his attitude to the theater:he is a great moralist, a passionate advocate of the truth, and the movie was for him only a means to achieve high goals ("to inform means above all - do not distort reality";"Realism, forced to always be download the film The right to Sado Maso
and based on reality, must strive not to, to be a" beautiful ", and by that, to be" accurate "- these are the basic of his teachings).In the region of the theory of cinema Grierson, however, did not say, in fact, nothing new, and the English documentary school to finish up its development for many years. However, this does not mean that we can call. the activities of its mastermind "nonsense", as he likes to call it, of course, out of modesty.CONTRIBUTION AND ITALIANS Djerba Debenedetti Barbara and KYaRINIJk MOBILIZATION ESTETINI Croce Italian contribution to the theory of cinema certainly very significant. Forerunners of scientific research in the cinema of Italy were not only Kanudo but De Amichis, Marinetti Lyuchani, Goffredo Bellonchi, Eugenio Giovanetti, Massimo and Alessandro Bontempelli Blazetti.In December 1907, De Amichis published in the journal "L'Illyustratsione Italiana" article "Smart movie" and Bellonchi in April 1916 vzhurnale "Apollo" article, "The aesthetics of cinema." In 1928 and. 1930 Lyuchani Giovanetti and accordingly write works "antitheater.Cinema as an art "and" Cinema and the mechanical arts "In 1931, Adriano Tilger includes his work" Aesthetics "Glaucus with the characteristic title:" Is the movie a separate kind of art? "However, these studies are often based on false assumptions and erroneous conclusions contained .Today, they retain the meaning mainly only as a document. Another approach deserves some articles, published in the journal literaturnohudozhestvennom "Il Konveno", published in Milan and edited Enzo Ferrier. Compositionally, this edition of the magazine was purely Lombard.Journal Ferrier was against the usual commercial film production and enthusiastically supported the cinema as art, expressing their confidence in its future. December 14, 1926 edition of the magazine "Il Konveno" download the film The right to Sado Maso
and organized viewing of the film "Intermission" and a picture of Dulac. Antonello Jerbi then introduced the audience works Cavalcanti and Pabst;Giacomo Debenedetti - fragments of the films of download the film The right to Sado Maso
and Chaplin, Dreyer, Dupont; Margadonna-"Honeymoon" Stroheim, Ferrier - a film by Renoir and "Journey to the Congo," Andre Gide.