Heap догвиль 40
Fairy tales of the Viennese wood
FILM ДОГВИЛЬReferring again to the fact that he calls "the basic requirements of any serious modern aesthetics" Kyarini finally identifies morality with the beauty of cinema, "... perhaps we can say that there is no film worthwhile.at such a level that it can be considered a work of art, which is not the by the very moral, that is, would not reflect kakuyulibo human problem, sincerely and deeply felt. "This morality, he adds, there is not because it is assumed in advance as kakayato not intrinsically connected with the film and didactic purpose, but because it merged into a particular artistic vision.And Kyarini, as previously Barbaro, confirms the concept that the idea of вЂ‹вЂ‹the film is seen as a moral, and therefore, the aesthetic factor, therefore, "in accordance with the idea of вЂ‹вЂ‹the film director must give a certain meaning to visual range and exclude all extraneous and superficial, which may weaken the power of ideas.For it is only through the idea of вЂ‹вЂ‹the film acquires a certain moral value. " Of course, said Kyarini, referring to De Sanctis, "to take its rightful place in the arts, moral and political ideas and passion to become lyrical motifs and overcome nature chegoto preset, program."Since the film is a collaboration, the idea in a preliminary form of pursuing "a single goal - to unite the various staff members to achieve the unity of inspiration." Kyarini unlike Barbaro, strongly and unequivocally defends "cinematographic film": "...cinematic, if I may say so, a film that is the cinema, enjoying the own means of expression and would not be a painting, literature, or even chemlibo others. " It is not limited by the fact that recognizes correct. search for specific film, giving it an important characteristic opredelnnoy trends.In the preface to "The five chapters of the film industry" as well as in individual articles Kyarini persistently speaks of "the spirit of cinema," the "cinematic vision." Movie, he writes, "if it is to establish ... must find a cinematic language, should use their own means of artistic expression ... "and" ...I believe that the movie ... to understand themselves, their money, their own values. "In the work cited above is "Direction", where it is more concise, but more systematically examines the problem in the light of a movie to common problems of art Kyarini draws the reader's attention to some aspects of romantic aesthetics, "even more glaring in light of the experience of the new art," and tends to indicate - in the spirit of which we have alreadysaid - some of the decisions, what would have to lead to a revision of the aesthetics, but are not limited biased negative. The book emphasizes the principles of collaboration in the work principles of direction as a creative unity, stating that "the technique defines the essence of the image", is part of the creative process.The book "Cinema in the problems of art" Kyarini redesigned and more organically organize their writings about the movie, including the text of the book of lectures by the Experimental Film Centre.
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