Heap догвиль 1
Fairy tales of the Viennese wood
WATCH THE FILM ДОГВИЛЬ ONLINEAnd from this point of view, bringing together images like Golda Meir to Hitler in the "here and away" will cause rejection.But that, perhaps, is the proof that we are not ready for this "read" visual images. For the method of Godard's association can not be considered. When given a single image, it is about how to choose a different way, which induces a gap between them.This operation is not in association, and on differentiation, as mathematicians say, either disparirovaniyu, as expressed by physics, if given the same potential, it is necessary to choose another, but not all, and such that between them download the film догвиль and formed a potential difference that give rise to chegoto third or new.In "Here and away" the couple bred French, who did not find understanding with a group fidainov. In other words, the gap is primary in relation to the Association, or an irreducible difference to classify types of similarities. Treschinazhe arises above all else and expanding.This is not about to follow the chain of images, even over the void, but of going beyond the chain or association. The film is no longer "images strung on a chain ... continuous chain of images, with some of them - the other slaves, and we - the whole download the film догвиль and chain of slaves. " GAP method manages all cinema One.The method of "AND", "this is first, and then there is" Being governs all things cinema. Between the two actions, the two emotions, the two perceptions, the two visual images, the two images of the sound between the sound and visual to see indistinguishable, ie the border.Whole undergoes a mutation, because it is no longer EdinymBytiem to become constitutive "and" things constitutive gap between images. In such cases, the download the film догвиль and merged entity to what Blanchot calls the power of "the dispersion of the Outer" or "dizziness from gaps":is a void, which is no longer the driving force of images and images that can overcome the sake of its own extension - but it radically questions the images themselves and then mounting a false reconciliation is endowed with new meaning, becoming at the same time the law.To the extent that the image itself comes off from the outside world, offscreen space, in turn, is also undergoing a mutation. When the movie was sound, voice-over space as soon Blanchot Maurice. В«L 'entretien inflniВ», p. 65.107 - has found its confirmation of the following two aspects:On the one hand, the noise and the voices were able to have a source, eksteriorny to the visual image on the other hand, voice or music is now in a position to witness the changing overall from behind the visual image, or on the other side of it.Hence the concept of В«voice offВ», expressing the sound side offscreen space.
FILM ДОГВИЛЬBut if we ask the question, under what conditions the movie extracts investigation, allows him to make a sound, and therefore does become audible, everything will turn:this occurs when the sound in the movie itself becomes an object of special types of framing, framing the visual gap imposes. The concept of voice off gains tend to disappear in favor of the distinction between what is visible and what is audible - and this difference is determined for the image.
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