Heap Следствие ведут знатоки 71
Fairy tales of the Viennese wood
WATCH THE FILM Следствие ведут знатоки ONLINEBut it is not a crime, but the most time.Aberriruyuschee movement, finds as a whole, as "infinite openness" as preceding any normal movement defined motor skills:necessary that the time preceded the regular deployment of any action that there be "the birth of the world, which would not be properly connected to the experiences of our motor skills," and that "the most distant memory of the image was download the film Следствие ведут знатоки and separated from any movement of the body" 'If' normal ' movement subordinates time and gives us hisindirect representation, the motion of the preceding aberriruyuschee shows us time and represents it directly against imbalances scale spillage lzhesoglasovaniya centers and the images themselves.Put into question here is obvious, according to the way the cinematic image is located in the present, and certainly only in it. Be so, time would appear only indirectly, based obrazadvizheniya is there, and through the installation. But is not the imaginary evidence, at least in two aspects?On the one hand, this does not happen, which would not pursue relentlessly the past and the future - the past, does not reduce to the previous date, and the future, not be to "come" present.Normal time sequence involves passing now, but every now coexists with a certain kind of past and future, without which it would not be very transient. The task of the movie is the setting of past and future coexist with the present way. Shoot what's ahead, and what is behind ...To get out of a succession of these may, to move into the film that came before it and after. For example, the characters: Godard says that you need to know who they were before they were placed in the frame, and by whom they will be later. "The essence of the movie is that this time it does not happen ever - except in bad movies."And it is very difficult because not enough to remove fiction in favor of harsh reality, which so successfully will send us to the transitory present. It should, on the contrary, tends to the limit:domestit the film limit, located before it starts, and the limit, who is after it - grab a character limit, after which he crosses to enter the film and leave it to enter into the realm of fiction, as in the present, not separated from their own "before" and on their own "after."We will see that this is the aim of Kino, or "direct" cinema: not to get in the way of reality as it exists independently of the image, but to achieve a kind of "before" and some "after", which co-exist with the image and from the inseparable.The meaning of "direct" cinema at that point where it is an integral part of any movie, is that to get to the direct representation of time. The image is not only inseparable from its inherent "before" and "after" and not merge with preceding and subsequent images;he is also a very swinging between the past and the future, for now - it is only the external and never constant and boundaries. Take a deep shot from Wells when Kane catches up drugazhurnalista to break relations with him, he has moved over time, that is, rather, takes place in time.
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