Film viv to look online

Another textbook of film fans, not without a certain theoretical value - "The Power of Film."Its author, Adrian Brunel, details the creative process in film and the way advocated the "iron" scenario. The most important thing in the making of the cinematographic work is that by the time we started shooting there was a clearly defined and recorded on paper libretto film;author defends this principle in respect of the plot and script. Were similar in nature and subsequent books Brunela: eg, "Filmmaking," in which the author examines the issues mainly acting in the movie, confirming the principles enunciated earlier Balas and Pudovkin."First of all it is necessary to bear in mind - Brunel writes - that film acting permanently muted. Actor on stage for most of the audience - it's a little man with a giant voice, his movements and gestures are exaggerated, overly temperaments;power and range of his voice more and more, than in real life, although the visual impression of the public should be taken together, similar to what we have in real life. In short, the actor, acting for the silver screen, to play a role "on the quiet" in comparison with the requirements of the scene.Film actors task is to minimize the game, considering that the closer the camera is, the less pressure to be in intonation and facial expression. " Influenced by Balazs Also Bruno Redinger and X. Opfermann.This latter in his "Mystery fiction films," popularizing the problem cinema, which he calls the "mystery", based on the principles of the Hungarian film expert. Here are six key provisions of his work: 1) the process of making a film should allow the viewer to participate in the development of the film's plot. Cameras eye - the eye of the viewer:that sees a camera, and the viewer sees as 2) the true audience participation in the plot proI comes only when it is in the center of this development. Therefore, the film, long \ zhny download the film viv and maintained in such a way that the camera never became "observer", and has always been a major player;3) the need to constantly analyze each scene to find out whether it is possible to revive the atmosphere through symbolic elements, and 4) any character should be clear, to be immediately understood. To this end, the symbol should not require mental effort.Function of the object that was used as a symbol, it should be much less stress than its symbolic value;! L 16 Aristarko 5) close-up should be used only when you need to convey the state of mind of man;exercise should be as if it is out of the environment and the environment in which the action unfolds, and 6) installation is critically important, the means of artistic expression, which may cause the viewer thoughts and images to be found between two shots, one after the other;so the transition from the association of ideas to the emergence of emotions.Although Opfermann and argues that "the scenario is the embryonic cell spectacular film," he adds further that it "we must find in every frame in every scene all the exact indication of the structure of the film, that is, must be specified motion movie camera, movie camera position , the length of the different pieces;characters and objects have to be defined in detail. " Thus, it is mounting a priori. His theoretical views Opfermann developed in the next book - "New School uzkoplenochnogo movie." Balazs influence is even more evident in the Relingera "Introduction to Film."The author presents his theory on the principles of "Visible Man" and "human hearing", giving particular importance of using the close-up, landscape and game film actor.

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