Heap ГОРЯЧАЯ ЖЕВАТЕЛЬНАЯ РЕЗИНКА 34

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Fairy tales of the Viennese wood

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The woman's body "in space becomes unusually nomadic nature that helped her cross the era of the situation, the terrain. Provisions body seems to place a sluggish ceremonial connects the appropriate posture and develops female gestus covering the history of men and the world crisis.It is this gestus reacts to the body, giving it a kind of sacred character in the form of rigid theatrical or maybe stylizing it. Possible to avoid excessive stylization, in any case, gravitating to, to make the film and the character closed?That is the problem and puts Chantal Akerman Gestus can without losing anything, become more burlesque and give the film a kind of lightness, irresistible fun: it is happening in "the whole night," but especially in the film, "Paris through the eyes of ...20 years later, "where even the name reflects the aesthetics of creativity Ackerman and become burlesque's pose as" engines "ballads. The value of cinema, created by women is not download the film ГОРЯЧАЯ ЖЕВАТЕЛЬНАЯ РЕЗИНКА and limited to militant feminism.Of far greater importance is what new items they have in the cinema of the body, as if byokenschinam had to conquer the source of their own positions and temporality, corresponding to the last as an individual or general gestus.Ward makes a diptych of "The Wall Wall" and "Documenter", and in the second part of the diptych shows everyday postures and gestures of women, lost in LosAndzhelese - whereas in the first part of it through the eyes of another woman, strolling along the same city found istorikopolitichesky gestus minority communities, wall muralsChicanos with annoying forms and colors. In Eustache film bodies and postures followed the others, but also new ways.Starting with the "Pig" and "shy of Pessac," Eustache shot cyclic festivities integrates the collective attitudes and the socio gestusI certainly they had their own context associated with such topics as the organization of power, political expediency, - in short, a story in these ceremonies and around them.But, based on the lessons Kino, her nadorasskazyvat not, in fact, the essence of the story more clearly visible, the lower her show Avot if only show how the body posture are coordinated with each other in the ceremony, so find something that seemed impossible '. Later films Eustache developed in several directions:body posture was not only zhestualnoy, but vocal, since one of the objectives of the movie, according to Philippon is to shoot it;attitudes and habits to produce its own potency gestus by the false, from which the body is sometimes shy away and that it was given at times completely, and yet in both cases it is a purely cinematic action;if implemented posture to see and hear her, she always sent to some viewers and listeners, and you-, reflects attitudes and habits of the body, so it was made of gestus posture and the observer;Finally, the basic form of a diptych became a movie, and it is manifested in different ways, but each time was the track 'download the film ГОРЯЧАЯ ЖЕВАТЕЛЬНАЯ РЕЗИНКА and Alain Philippon asks: Where is the limit of styling and body postures?




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