Film Владимир Епифанцев to look online

In the background "Home" loomed addicted and conquers all open neorealism.On the other hand, Kalatozov, back in the twenties of the famous documentary film "Salt of Svaneti," written by Sergei Tretyakov, together with the operator Urusevsky quite chamber piece Rozov treated in a dramatically expressive forms, enlarging and shifting her household "neorealist" stuff.The film was a sensation at Cannes, and Urusevsky most famous and fashionable of the operators. This marks an explosive point in cinematic searches. Opening everyday reality makes the room discoveries expressiveness screen.It would be tempting to ascribe the impression of relaxed camera Urusevsky future search Tarkovsky impression is reflected in the "Skate and violin." In the future it will be very easy to assimilate certain fashion world cinema.But few of his very early work, preserved in the archives of lean fighting positions, show some initial features artistic personality, which remained unchanged throughout its further practice. Therefore, the influence, under which it is subject, were selective and due to these properties.Student analysis of student Jutkevich Tarkovsky film "The Great Warrior of Albania Skanderbeg" shows maturity, may be unconscious, depletion of view of the movie. Perhaps the sharp rejection of the previous monumental style can be attributed to the general features of generation:"The film gives the impression of bombast and fake by false false epic and monumental images of the main characters, including Skanderbeg".But then, going through the fight scene Skanderbeg, which just draws him by the folk imagery, close to People's poetics, Andrei Tarkovsky made a comment, which could serve as a prologue to the whole future of his film: "Then the trick is hardly comprehensible to the viewer.Skanderbeg the sword above the download the film Владимир Епифанцев and defeated enemy, who asks him to kill. Next frame thrashing, slow action: Marine shaft rising, rising, freezes for a few moments. After careful consideration and analysis of the fight scenes, making 23 in the folk spirit, can be understood as a metaphor of the frame and the words to express this:"And as sea shaft stops running his grim, stood sword entered Skanderbeg in avenging his right hand." Suppose this is so, but in order to understand the essence of the frame, the viewers need more time than it is to let the director. . Metaphor thus the audience is not perceived.This does not imply that everything has to be present in the audience as a chew. No. On the contrary. Every idea, presented to the viewer, not directly and correctly understood allegorically spectator him, the audience, closer and more expensive, because here there is a very creative audience.Nevertheless, every parable should not be a puzzle. "I allowed myself to such an extensive excerpt from almost school work, because here, as in the kidney, the whole knot of problems, which will be tied around the films of Tarkovsky. His relationship with the official movie.And the underlying setup to "creative" spectator ^ on allegory, which later theory he will contest, and almost despise even conscious, teasing and even a nerasshifrovyvaemoy "conundrum." Outside of this site there is no problem of art Tarkovsky.Then he found a tendency, if not directly to the allegory, just to the expressive means of expression. Small scenario study "concentrate" the only evidence of his work in the forest tells how the head of the expedition waiting on the landing stage on the Yenisei River boat dock with a "concentrate" mining geological party.He took out the paper, and yet the meaning of the Party's work in the "concentrate". And now he waits in bad weather fix their mistakes.



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Film Владимир Епифанцев
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