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Fairy tales of the Viennese wood
WATCH THE FILM WILCZE ECHA ONLINE Primitive languages, says English theorist, had just as limited as the language of cinema, opportunities in terms of abstraction and generalization, and had at its disposal method comparisons, which owns the movie so well.To compensate for this lack, the ancient poet resorted to likening-acceptance, which is one of the means of true cinema.But though the visual comparison of the movie plays an important role as a substitute for dialogue and provides the material, more easily amenable to complex forms of assembly in it, on the other hand, the danger lies confusion, especially if the assimilation is selected from a temporary episode of the story.Spottiswoode therefore considers it necessary to establish a certain figurative mark, which would be used exclusively to precede likening. At this Spottiswoode completes its investigation.As we can see, the material in his book is to be shared, which allows be assessed written earlier work: "If you do not want to study it became too cumbersome to have strict order to present the bulk of the material and even after dismantle and secondary side cases "- says Spottiswoode.Of course, in diagrams and definitions Spottiswoode many inaccuracies and omissions. For example, it omits some types of shooting and different types of motion of the vehicle. However, any such classification is to some extent arbitrary.If you can not fully illuminate this immense practical question, Spottiswoode, in any case, thoroughly researched and rigorously classified cinematic techniques in terms of visual perception.It is in pursuit of a rigorous classification lies the reason for limitation Spottiswoode, although he repeatedly during the presentation notes that the analysis and synthesis are in the same close connection, as in the mind of the artist, and the first defines the second, and the second - the first.Spottiswoode is not silent on the fact that there is a relationship between "technology" and "topic". However, in the end of the section on the various theories of deontological and teleological theories, Spottiswoode says that in 172 cases, both were looking for a justification for drawing technique to separate from the topic.He shares the analysis and synthesis for purposes of clarity and to avoid the risk of falling into a dangerous abstraction. In view of all this research Spottiswoode often moves from the aesthetic to the technical plan: English theorist brings to an extreme scientific system Arnheim.In place of the formal settings of the German scientist, he takes a purely grammatical principles that could serve as the development of more "proper" film language, logical construction of the film, rather than the cinema as an art. However, this limitation is evidenced by the very title of his book, "The grammar of cinema."But the "punditry" Spottiswoode, in fact, not so barren, as some claim. Even Barbaro, which certainly harbored no sympathy for the English theorist, calls it a "messy, but never banal."As delve into his work, see how Spottiswoode eliminates interference clarifies misunderstandings and ambiguities, trying to clear the way of all the wrong that download the film Wilcze echa and piled his predecessors - for example, in matters relating to the sound film, or in opposition to some provisions of Arnheim.Besides, all the long-term activity Spottiswoode, taken as a whole, certainly contributes to a clearer understanding of cinema and its expression.