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Fairy tales of the Viennese wood


Together with the latest Groll, of course, gives artistic value is the frame as such;Installation is not the only thing he says, but only one of the important means to achieve the art of cinema. "By selecting the images, constructing the frame rate, audio editing and film, based on the hardware, has made genuine progress toward art."Only in the matter of sound motion Groll departs from Arnheim, but still makes a very controversial findings:"When the language of the sound film has lost its initial imitative character, completely directed to a more precise reproduction of reality, 'and there was technical perfection, he became a full- fledged medium of artistic expression and immediately took a subordinate position in relation to the image."So the sound in the movie to be a "low-key", the dialogue is limited and "logical", "his goal was to emphasize the rhythm, animate form." Taking talkies, though with reservations, Groll, however, does not deny any color film, or stereoscopic. No more original and in his theoretical views on the actor:theater or, at least, a professional actor, he prefers to "type", however, he points out that even this last is not ideal for a movie that needs its own performing skills:"The ideal would be a cinematic artist artist who is conscious of his place in the world of visual images and image budetne rape by mental and physical expression, and create with the help of cinematic game ever new optical functions.Image dominates, the man as well as the landscape, gives himself at his disposal. " Groll Arnheim returns to the last pages of the book, in the chapter on the relationship between cinema and other art forms."Let us hope - Arnheim wrote - that the poets in their own interest and in the interest of art will be able to resist these flattering offers that mean for them famous fast and easy profits. So it was not to his face.Should not be required Pudovkin or Eisenstein, so they wrote novels, and pretend to Döblin Tsukmayer or making films. " Groll echoed him: "Between cinema and literature there are no bridges. Cinematography is out of the picture and directing, and our greatest poets have given the most vile cinematic scenes. "The question of relations that exist between film and literature, between poetry and prose in the movie has already been considered, in particular, in Shklovsky's "Literature and Cinema" and compiled Eikhenbaum book "Poetics of Cinema", revisits Svatopulk Jesek in his book, "The Word , animated fil ^ MOM ".In 1950, Louis Chauvet published the book "Pen and camera", which sought to prove that the film compared to the literature or the theater is "an art, and that's an art with a capital letter." In 1957, a book by Claude Mauriac and George Blyustona.


In the first, again raise the problem of the relationship between cinema and literature;deliberately excluded from the study films inspired by the great works of classical music, the author focuses primarily on film is based on the works of Cocteau and Malraux, that is on the books by authors who are also filmmakers, and analyzes the work of some writers, and directors as well as - "Writersthe screen.