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Fairy tales of the Viennese wood
movie Wrath of Achilles There is a third point, no less manifest in the previous two. It is not on the way to the concept, not the concept of the image and identity of the concept and the image: the concept as such is given in the image, and the image itself - in concept.This is not organic and not pathetic and dramatic, pragmatic, practice or mysldeystvie. This mysldeystvie represents man's relationship with the world, man and nature; sensorimotor unity which, however, is raised to the highest degree. It looks like the movie really intended for this.Bazin wrote, cinematic image contrasted image of the theater is that it moves from outside to inside, from the decor to the character, from nature to man So, the more he is able to demonstrate the reaction of man on nature, human or exteriorization.Exalted is inherent in sensorimotor unity of man and nature, so nature must be Anger of Achilles movie watch online and call indifferent.This already expresses emotional or metaphorical composition, for example, in "Battleship" Potemkin "," where three elements - water, earth and air - harmonically show mourning nature of human life, while the reaction of the person exteriorized in the development of the fourth element, fire, conferring Nature new quality in a revolutionary combustionBut the person acquires a new quality, becoming a collective subject of his own reaction, whereas the objective nature turns into human relations. Mysldeystvie postulates both the unity of man and nature, and the unity of the individual and the masses: the cinema because mass art.Just through this Eisenstein justifies the primacy of installation: the subject cinema is not an individual, but an object - an intrigue or a history; object film - Nature and subject - mass individuation mass, not the individual. That which unsuccessfully sought to theater, especially opera, was achieved in the cinema: a movie reached the vidual, t. E.to individuation mass as such, rather than perceive it as a quality homogeneity and reduces it to quantify the divisibility of the more interesting to note how Eisenstein responded to his criticism of the Stalinists.His uprekaliv that he did not catch the really dramatic element myslideystviya, for what he portrayed sensorimotor communication from the outside and quite generally, without revealing its origin in the characters. The criticism was at once ideological, and technical and political:Eisenstein supposedly stuck on an idealistic conception of nature, he is replaced by "history"; on the concept outlet dominating the installation site and the overwhelming image or plan; on the abstract concept of the masses, to obscure hero, endowed with individual consciousness.
movie Wrath of Achilles Eisenstein was well aware of what was going on, and dedicated self-criticism, 1 Eisenstein admired Tolstoy because they could FORMS Rowan image, combining into a single entity that how to feel and think about the characters themselves, and how the author thinks of them: here "criminal" hug Cara Anna and Nina Vronsky.At this time, "compositional principle" is not expressed in Obra se as its echo, but directly in the form of: «Le film: sa forme, son sens», p. 182- And yet we do not think that he Eisenstein created images of this kind.