169 It can not come close to a truly profound psychological art.That's why a contemplative moment, which in some cases can be described as a moment of "amplification", allows to overcome the limitations of the primitive and pantomimic discourse. Corporal "gain" is the proper way to overcome the framework of pantomime, which is to strengthen fit.The main provisions of the "National kinoreformy" are repeated in the book of 1920 "Movies today and in the future," but this work introduces the concept of Lange, a number of amendments and changes. Much attention is paid to the old aesthetic problem: is the art of cinema? Lange answer this question, it would seem clear:movie based on a photographic image, "may be an art to the extent that it is photography. However, as everyone knows, the latter is not an art form ....Movie - not art, it's - technology "criterion of belonging to the field of art for Lange - the degree of presence in the manuscript, personal principle," taste "," spirit "and" style "- the classic components of subjective vision. All this is unavailable due to the cinema his photographic.But very soon the esthetician begins to contradict its own assumptions. The fact is that in the movie apart from "pure" reproduction visible there, and one difficult to determine in the classical aesthetic categories element - is an illusion. While Lange is just not interested in a photographic illusion, and the illusion of movement.And this is the fundamental difference between the new book from the "National kinoreformy" where vnutriekrannoe movement understood as genuine. Indeed, the movement on the screen can not be understood as a "mechanical copy": "So, here it is an illusion - says Lange.- Why, in fact, it can not be art, such as the illusion of confronting people when looking at a painting? ".The difference between the beautiful and cinematic illusion is, according to the theorist, is that the illusion of movement in the painting there is a contemplation of the stationary blade, and therefore requires intensive work of fantasy. A genuine work of art must have what Lange calls the "illusion of power."Film does not have such power, the illusion of movement arises here kakomto relaxed, purely external mode. Therefore the film, having an illusion, yet is not art. It is easy to see that this argument is problematic in its own way, is developing "strengthening", started in the previous book.The moment of stillness as the time gain is described in terms of "the illusion of power" in some key energy. The absence of this force in the film leads to the fact that it is not focused on the imagination, but an imitation of nature, to naturalism. This new approach can be formulated differently Lange.Lightweight, superficial illusion is purely imitative mechanism. Film Sex and the City
. Imitation, a copy can be overcome only by moments of "illusion of power." Such moments occur in areas of text where fotografizm sharply weakened.