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Fairy tales of the Viennese wood
FILM EL SACERDOTE Each of them threw his battle cry: all consciousness is consciousness chegoto or all consciousness is something.No doubt that the former position has become impossible due to many external to the philosophy of factors. Social and scientific factors gradually filled the life of consciousness movement, and the material world - images.So, as we now do not take into account the film that emerged in the same era, and is going to provide evidence of their own obrazovdvizheny? True, Bergson, as we have seen, clearly considered cinema false ally.As for Husserl, as far as we know, the film does not mention at all (there can be replaced by 'This was the most general topic of the first chapter and the conclusion of the "Matter and Memory."107 KinoObrazdvizhenie It is noteworthy that Sartre, for many years to inventory and analyze disparate images in the book "Imaginary" ', ignored the cinematic image.) If anyone benchmarked cinema and phenomenology, so it MerloPonti, and he saw in a movie false ally.Yet the grounds cited phenomenology and Bergson, so dissimilar that a clue us serve their very opposition. Phenomenology is building back to normal "natural perception" and its conditions.These conditions are the existential coordinates that define "establishment" of the perceiving subject in the world, being in the world, open to the world, which was expressed in the famous maxim "all consciousness is consciousness chegoto" ...This being so, the movement, the perceived or manufactured, to be understood, of course, not as an intelligible form as download the film El sacerdote and actualized in the matter, but as a sensuous form, organizing perceptual field, depending on the intentionality of consciousness in a particular situation.But, as the movie would not bring us closer to things like or delete us from them and not revolve around them, it actually removes and rootedness of the subject, and the horizon of the world, that is, the natural conditions of perception, it replaces the implicit knowledge and secondary intentionality Movies does not converge with the other arts, the purpose of which is likelysee the unreal world, but works from the world of the unreal or narrative: the invention of cinema is not the image becomes the world, but the world - their own image. You may notice that in some respects the phenomenology stuck on dokinematograficheskoy stage, which explains its awkward position:phenomenology puts natural perception in a privileged position, making the movement correlates also with poses.Consequently, cinematic movement immediately download the film El sacerdote and unmasked as not comply with the conditions of perception and loyalty to the same exalted as a new type of narrative that can "pull together" perceived and the perceiver and the perception of the world But Bergson film exposes as false ally quite poinomu.For if the film distorts the movement, it is exactly the same and on the same basis as the natural perception, "we caught almost snapshots with passing reality .... Perception, thinking, language deystvu1 Eng.