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Fairy tales of the Viennese wood

film igrі

We need at least kakayato ethics or belief that causes laughter in idiots; and it does not need to believe in something else, but the need to believe in this world, to which also belong to idiots like ourselves. This is the first aspect of the new movie:sensorimotor communication gap, but on a deeper level - the relationship between man and the world. The second aspect was the rejection of the figures - by metonymy, no less than by metaphor, and on a deeper level - the displacement of the internal monologue as signaleticheskoy matter cinema.For example, about the depth of the frame in the form in which it is administered Renoir and Welles, you will notice that they paved the way for a new cinema, no longer a "figurative," metaphorical or metonymic, more demanding, more binding and, as it teorematichesky . This is what he wrote Astruc:depth produces physical effect snowstorms, it brings the characters to the camera, it takes them away from the camera, and not lead them along the then across the frame; but it is also inherent in the mental effect of the theorem, for scrolling the film, she turns in theory, and do not perceive it as an association of ideas;it makes the idea of ​​inherent image Astruc himself learned the lessons of Wells kamerapero refuses metaphor and metonymy installation, - she writes via trevellinga, hitting the top and bottom of approaches from the rear; it builds a kind design.Metaphor and metonymy has even irrelevant, since the need inherent in the relations of thought, replace the adjacency relationship between the images. If we ask who of the directors on the other teorematichesky passed this way, even apart from the depth of the frame, the answer is: Pasolini.Undoubtedly, all of his work, especially films "Theorem" and "120 Days of Sodom", can be considered a geometric proof in action."Theorem" and "Sodom 120dney 'claim to it, to force the mind to follow the path of their own need, and bring the image to the point where it becomes deductive and automatic - and replace formalized thought-chain representative or figurative sensorimotor circuits.Is it possible that the movie thus reached a truly mathematical rigor that would concern is not just an image, but the thought of the image, in the image of thought?This is the cinema of cruelty, which Artaud said that he "does not tell a story and developing a sequence of states of mind, some of which are derived from the other, as a thought - of thinking" But is not this the best way to unambiguously rejected Artaud, is not a spiritual concept machine, which he refused on the grounds that itstringing thoughts, with only the formal power, thus giving them a sample of the knowledge? Here it is necessary to understand another feature characteristic for tvorchestra Pasolini and projects Artaud. Watch the film igrі in excellent quality online.There are two mathematical instance, constantly referring to each other, each other "enveloping" slips to each other, but, in spite of their union, quite different from each other: this theorem problem.




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