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Fairy tales of the Viennese wood
film of Marilyn Monroe. Unclaimed Baggage 412 Gilles D ele'z KinoObrazvremya 413 spatial dimensions. While depth remains included in the common sequence of parallel plans, it has sim volizirovala him time, but in an indirect way, staying There- fore subordinate space and movement.Depth is a new type of contrast, directly generates a region of time, of the past, which is defined aspects, or to optical elements, borrowed from various interacting plans'.The collection of links nonlocalizable, always moving from one to another planats, and is a particular piece of the past or the continuum duration. , "The second problem concerns the function of the depth of the frame.It is known that Bazin gives it a function of reality, as the viewer should independently organize their own perception of the images do not get the image of the shelf. Mitri denied it, for he saw in the depth of the frame is very coercive power that forces the viewer to follow the diagonal or look into the lumen. All the same position Bazin was difficult:he proved that this "growth" of reality can be obtained through the "excessive theatricality" as we have seen in the "rules" But, it seems, no theatrics function or function reality of this complex problem is not exhaustive.In our view, there are a lot of depth functions of the frame, and they all come together in direct obrazevremeni. A characteristic feature of the depth of the frame is that it changes the subordination vreme1 Wed .: Wolfflin, p.99, 2 The discussion between Bazin and Mitri discussed two problems.However, it appears that the point of view of Mitri much closer to Bazin than It finds himself. First, if you can call Wells innovator in the development of the depth of the frame or have it we see a return to the most ancient method of early cinema - believes Mitri?Nevertheless, the Mitri shows on what a "tolerance" is present only overlap between parallel pla new, but not their interaction, like Renoir and Welles: therefore he admits the truth of Bazin in this essential point. Wed .: «Esthetique etpsychologie du cinema». Ed. Universitaires, II, p.Second, whether the function of this new depth freer function of reality, or is it, according to Mitri, as is mandatory, as well as any other? Whatever it was, Bazin readily recognized theatrical character depth in the frame Uaylerav the same extent as that of Renoir.It analyzes one uaylerovsky plan of ma fille "Chanterelle" where a fixed camera only "logs" scene in depth, but the words in the theater.
film of Marilyn Monroe.Unclaimed Baggage But the cinematic element just helps to ensure that walking in the salon twice a character can get out of the frame - first to the right, in the foreground, and then to the left, once there, where the background - and then roll down the stairs: off-screen space operates quite differently than the scenes.Here, the movie uses "excessive theatricality" koto paradise ultimately reinforces the impression of reality.