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Fairy tales of the Viennese wood


In support of his opinion Souriau refers to Sacha Guitry film "Roman tricksters", the decision as autobiography, allegedly told by the hero himself.Souriau certainly right in saying that, with the exception of the verbal action and framing koekakih purely plot linkages, there is nothing in this film does not confirm that the protagonist and narrator is one and the same person.The image of fraud presented by the same as the rest of the actors, and visual interpretation of the film does not reflect the state of his thoughts and feelings. The film camera is normal for her role as an independent or even a secret observer download the film эротика. and Again Souriau underestimates the potential movie.While accepting the fact that the author of the film is much more difficult than the novelist, to identify with any character of their choice, they can still achieve quite a lot in this direction. Robert Montgomery film "The Woman in the lake," of course, is not the best example.It removes the camera as if the eyes of the main character, so it is almost invisible, when we are shown around him from where he stands or walks. Identification achieved in this way is purely external, this technique does not allow us to fully identify with the hero of the film.However, the failure of Montgomery, is not able to achieve the task, does not mean that. it can not be solved by means of cinema. In some films, such an attempt has been highly successful. For example, in "The Cabinet of Dr. Caligari":however, the character from which the story is told, in person communicates with other actors film, but in spite of that, we have a feeling that these lyudiprizraki and quirky world around them are the fruit of his imagination. The whole movie as it is generated by the inner life of the narrator, it is all reflection.Approximately the same as have been achieved in the movie "Attack", but in a more cinematic, less like painting style. . Here it seems as if all the original streets, rooms and underground passages, which are so much in the movie, all just a hallucination hero. All this before - 310 put in his perception;his brain, one might say, is the place where they were sealed chamber. Is the viewer of the film "Rashomon" is not necessary to consider the murder scene with divergent points of view of different, successive narrators? And in the process viewer, he unconsciously takes them contradictory versions.Consequently, and a map of the subjective vision of the character is not entirely inaccessible cinema. This allows us to conclude that in general, formal distinctions film and the novel are relative and, as such, less weighty than the significant similarities between the two.By themselves, these minor differences could seriously hinder the truly cinematic adaptations of novels. But, in addition, the film and the novel cover different worlds. That's the difference between them is truly crucial. Two of the world. The material world and duhovnointellektualny.The fact that the film and the novel depict life in its course, does not mean that the main interest of both focus on the same aspects.As mentioned earlier, film tends to picture life "still firmly, as if the umbilical cord associated with material phenomena, of which there are her emotional and mental situation."Hence, in the cinematic films for implementation of the invisible and intangible, an external expression of physical manifestations.For example, emotional struggles and experiences of the hero of the film "Diary of a Country Priest" reach the minds of the audience with more subtle changes in the expression of his face than explicit diary entries, everything is built on the fact that the physical nature of man through the visible to the spiritual values and ethical standards.The life of a movie camera in the picture is essentially a never-ending series of material phenomena.