This is the first major difference between the classical and the modern cinema.For a classic movie people present, even oppressed, deceived and enslaved even sle1 Our analysis is too short, and we can mention only some bibliographic coordinates: On the first two epochs, M r in it Jean, В«Le cinema experimentalВ», Seghers, ch . V, X; 2 obols recent period, N of guez Dominique.В«Elogedu cinema experimentalВ», Centre Georges-Pompidou; В«Trente ans de cinema experimental en FranceВ». Arcef, В«Une renaissance du cinemaВ». KJinksieck. Wed already cited article Bertetto В«L'eidetique et le ceremonialВ». On the method of flicker and cyclic method in American underground sr.S itn ey В«Le film structure!В», In:"STET, theorie, lecturesВ». ,., 538 Gilles Deleuze 539 KinoObrazvremya sing or unconsciously. Examples can be found in the Soviet cinema: people already present in Eisenstein, showing how he makes a quantum leap in the film "The General Line", which turns it into a "Ivan the Terrible" to the extended tip, which is held for the king;in Pudovkin every time the way to the realization helps to ensure that the people are always endowed virtual existence in the mainstream, but that the Vertov and Dovzhenko, then they are download the film Charlotte's Web 2: Wilbur's Great Adventure
and characterized by two types of the same unanimizma, which puts different people in the same furnace, generating future.But unanimizm defines and political nature of American cinema, like the pre-war and war years:Here we see not the vicissitudes of class struggle and not a clash of ideologies, and economic crisis, the battles with the moral prejudices, Baryshnikov and demagogues, marks the awareness of the people themselves as in the depths of her misery, and at the tops of their hopes (unanimizm King Vidor, Capra or Ford, for this problem is asWesterns and social drama, both portrayed the people as the middle test, and in the moments when he "takes himself in hand" or finds himself). " The U.S. and Soviet film people present initially, and it is a real first, and then the actual, in addition, - ideal but not abstract.Hence the belief that cinema as an art of the masses can be revolutionary or democratic art par excellence and transform into a genuine mass subject. However, such a belief undermined by many factors: it is the coming to power of Hitler, became the subject of the movie will not become the subject, and the enslaved masses;this is Stalinism, replacing unanimizm people tyrannical unity of one party, it is the collapse of the American people and, having ceased to consider himself a melting pot of peoples passing through it, as well as the embryo of a future nation. In short, if there is some piece modern political cinema, it is the basis of:People are no longer or not yet ... people do not. Undoubtedly, this truth was also important for Western Europe, but opens its authors were rare, as it was covered by the mechanisms of power and majority systems.But it thundered in the Third World, where the oppressed and exploited nations download the film Charlotte's Web 2: Wilbur's Great Adventure
and remained at perpetual minority in a state of crisis of collective identity.Third World and minority authors have created, have been able to say with regard to his 1 For example, democracy, the public interest and the need for the "leader" in the work of King Vidor СЃСЂ.: В«Positifo, no. 163, novembre 1974. nation and their own personal situation in this nation: here narodato not.The first discovery was download the film Charlotte's Web 2: Wilbur's Great Adventure
and announced on Kafka and Klee.