Heap Золотая Лихорадка Аляска 3 сезон 23

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Fairy tales of the Viennese wood


Bean is a polynomial.Even in the western, where the fight is presented in the most unalloyed form, "in the last resort," it is hard to see. Who is the cowboy duel - the bandit, or an Indian? Maybe my wife and I, with a friend, or a beginner, it is going to replace '!And in the movie "M" is a real duel between the M and the police and the community, or between M and "raspberry" for which it is undesirable? However, is the real fight is not located somewhere else? Ultimately, it may be out of the film, though in the movie.In the scene of the court "raspberry" thugs and defend the rights of the poor in the crime as a form or mode of behavior and reproached M that he was acting under the influence of passion. What M says that his passion was innocent:otherwise he can not act, he commits acts only under the influence of passion or impulses - and it was at this point and only at that moment the actor plays in the express Zionist manner. And, finally, do the fight from the movie "M" was not a duel between himself and Lang expressionism?This film marks the farewell Lang with expressionism and the transition to realism, subsequently confirmed in the "Testament of Dr. Mabuse." In a z i n. В«Qu 'est-ce que le cinema?В». Ed. du Cerf, p. But if we are dealing with this vzaimovlozhennostyu fights, then why is formulated fifth law:between the male and the hero, between the environment and alter its behavior, between the situation and the need to effect a large gap, which can be overcome only gradually, as the film. One can imagine a situation which quickly becomes a fight, but it would be "burlesque":in short masterpiece Fidtss regular intervals opens the door of her hut in the Far North, saying "a good host in this weather will not bring a dog," and then gets known by whom two of snow in his face. But usually from the environment to the last bout the way is long.The fact that the hero to an action not ripen at once - like Hamlet, for which the action is too high. It can not be described as weak: on the contrary, it is covered, but only potentially. His greatness and potency to actualize.Hamlet must give up his detachment and the peace of mind or to gain power, which he took away the situation, or wait for a favorable moment, when he will be supported by a community or group of kakoynibud.In fact, the people need a hero and a core group for the blessing, but also a counter-aid group, more heterogeneous and more narrow. He must be prepared to slabodushiyu and treachery on the part of some as well as to other subterfuges. These are the variables that we find in the western and in a historical film.Soviet film critics have not noticed Eisenstein Hamlet's character Ivan Groznogo1: two moments of great doubt, through which it passes, as two caesuras film as well as the king of the aristocratic nature, by which the people can not serve him the main group, and can only support group and tool .The hero must survive at all times of internal or external weakness.Tensions Cecil DeMille film "Samson and Dolila" enhanced images showing the blind Samson rotating millstone, and then - vlachaschego download the film Золотая Лихорадка Аляска 3 сезон and chain and expelled on the territory adjacent to the temple, where he jumps from biting jaws cats that na1 Soviet "film critics" is noticed.That's what they say in the decision of the Central Committee September 4, 1946 "On the film" The Big Life "": " Directed by Sergei Eisenstein in the second episode of" Ivan the Terrible "found in the image ignorance of historical facts, presenting ... Ivan the Terrible, a man of strong will and character - spineless and weak- willed, chemto like Hamlet.