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These movements are not perfect:the best way to transition from one frame to another to maximize capture the viewer's attention is mounting. Only through the mounting stresses Spottiswoode, prostranstvennovremennaya continuity - the basis of almost all the impact force movie - acquires its true meaning. Motion movie camera, by contrast, bring the movie to the theater.And it is based on the principle of continuity, considered as a specific feature of the cinema, Spottiswoode criticizes views Arnheim - the enemy of sound film. Spottiswoode himself, of course, attaches to sound film the importance they deserve.Following his method of analysis, it first classifies sounds, dividing them into words, natural sounds and music. Such a classification is simplified by separating into two categories according to form realistic or unrealistic form and parallel form, or the opposite.The first category has two sub-quantitative and intense, with each of them in turn, is divided on the basis of contrapuntal or nekontrapunkticheskogo use. It is in connection with a realistic counterpoint Spottiswoode and refutes position Arnheim.Camera, says Arnheim, "showing an object at a certain angle ... able to give it its more or less profound interpretation ... Particularly appealing in this case that the result is achieved without kakogolibo distortion or change of the object itself. "Thus, says Spottiswoode, Arnheim protects visual tools - perspective, the limited frame, lighting and so on, and on the other hand, questions the justification for installation before it, "surface and in its most general form, but the values вЂ‹вЂ‹which he, of course, can not be solved completely denied.The essence of the installation is that it breaks up the natural prostranstvennovremennuyu continuity. It can not be - concludes Spottiswoode - no theoretical objection to the other of a similar break. "Thus overcoming this seeming difficulty Spottiswoode turns to the Fine unrealistic ways to use sound, subjective counterpoint - that is free blending of words and sounds. It directly examines the internal dialogue, in theory, already considered by Eisenstein.In addition, Spottiswoode tries to systematize the various uses of music in film.Subjecting this analysis the total complex of elements movie, in other words, through the completion of the order on the basis of some preliminary definitions of the basic concepts and tools movie Spottiswoode then considers the question of how to use these tools and what their purpose is.In other words, he goes on to analyze the actual method by which the movie releases its neteatralnye effects and techniques. Film AKB0048
. Spottiswoode, among other things, said that the installation method is as old as the method of contrast:"For the Latin words with the following phrase in the language of the Anglo-Saxons, long phrases interspersed with short periods of vigorous activity followed by periods of peace and tranquility. In music, the piano enters in the fort ... "By making this clarification, Spottiswoode, of course, does not want, as we have seen, to belittle the" absolutely critical importance of editing in the movie.