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Fairy tales of the Viennese wood


His views, if at them and you can argue with the position of the opposite theory, yet still retain important.In any case, the value of the contribution made by Barbaro, is primarily in the fact that he was an early proponent of including aesthetic problems Film common problems of art as a whole. Undoubtedly, as Barbaro himself admits, in his work "The Movie:story and script "there are violations of proportions, approval and evaluation," too categorical and often made without sufficient theoretical justification and links. " However, before the second edition of his book, Barbaro tried to invoke in support of their views on the various authors.In the journal "Bianco e Nero" under the heading "Film and intellectuals" to confirm it and explain the situation made them (from multiple processing material to the issue of "the collective cooperation," the confluence of several techniques to the creative nature of the movie, the character of the opposing performing theater ) refers it to CharlesVossler, on Parente, the Ugo Spirito. Dissatisfaction Barbaro idealistic theories, and in particular the philosophy of Croce, from which he started at the beginning of its activity, manifested in his first acquaintance with the works of Pudovkin:"These phrases Pudovkin calm broke, pick to pieces all the culture in which I was raised and,В« II problema della prosa cinematografica В». -В« Bianco e Nero, Roma, a. W, 1942, N although I am always against it, and download the film FKK and rebelled.I translated it with an enthusiasm that, I think, feel, even now, in the preface to the book "Film and talkies." Ideological art, realistic art, installation ... The wide straight road, a completely different approach to the understanding of art, opposite to that which reigned supreme in Italy. "But while still in the thrall of idealism, he "could not and did not want to settle for krocheanstvom", turned to various other idealistic tendencies and tried to move to new positions, which later brought him to Marxism."Under the influence of the stimulus longstanding grievances and dissatisfaction" Barbaro was looking for "a direction, which at least would not take an agnostic position with respect to what is potentially, if not always in fact, still the most important artistic phenomenon of our time, that is - to the cinema. "The name of the second edition of his first book, "The story and script" without the word "film", followed by a colon, do not allow the possibility of a serious misunderstanding, that is, such an interpretation on which the film - this is supposedly only the story and the script.Barbaro sought to apply his theories into practice in the documentary "Adriatic Shipyard" and "carpaccio" and in the movie scene "last enemy", which uses the installation through the use of counterpoint and only one motion cameras.


Directing it combines the activities of the writer.In Poland, where he worked for a few years after World War II, Barbaro also combined theoretical work with practical work. In the film school in Lodz, he gave a course of aesthetics and a series of lectures on dramatic art film and directing the actors.