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Directors like Rossellini, De Sica, Fellini, Krakauer says, interested mainly the kind of life that can be opened only by the imaging camera;they create movies and then reveal to us some of its characteristic aspects ..Krakauer says that the true cinema artist - a man who begins with what he wants to tell a story, but in the process of filming nasgolko addictive innate desire to cover all material reality that it further and further deep into the jungles of material phenomena, where he runs the risk of permanently get lostif he could not get through a huge effort back to the main road, from which he retired. Absolutely no doubt that theory chgo movie offered Krakauer, very similar to the other views expressed recently in kinoliterature. First of all, it brings to mind the theory of propositions put forward by Arnheim and Richter.Arnheim not consider mounting the "basis", "characteristics" movies, he, on the contrary, download the film Я ПЛЮЮ НА ВАШИ МОГИЛЫ 2 and defended the importance of the individual pieces, frames.Richter, though with reservations, believed that the plot may have movies with cinematic terms artistic value, but only if they are dedicated to a simple, "natural" theme, and are based on very Zorka observation of life, are a kind of realistic reportage.While Krakauer also argues that the painting is a means of artistic expression, which can be seen as the opposite of photography, and, consequently, a movie, it is clear that he has in mind at all, "mock" in the sense in which invests Raggyanti the concept of "spectacle."This interpretation is reminiscent of positions expressed by Kyarini, and earlier advanced by Grierson and Dzavattini. "Life ... surprise." This expression is very fond Dzavattini. Immediate "history", taken directly from the daily reality, episodes from the life of their current and conglomeration, material reality;random and unexpected - all elements that underpin Dzavattini poetics.The greatest merit of neo-realism, states are known, this Italian film theorists, in that it only applies to those who are close to us in time and space, so for the disclosure of which is necessary to become a particle of living tissue of national life, increasing in geometrical Italians progression familiarity with each other, theirunderstanding. Although Dzavattini screenwriter who wrote "even too many scenarios," he wants to come out of the filmmakers film studios in the world with a movie camera aimed, but not finished script in your pocket. "Intentional should not be anything but the nature of interest, visual acuity, breadth of outlook ...What they come back in the evening? One stood on a street corner, the other ended up on the meadow, where, for example, children playing, and the third had spent the entire film that he was taking off to work the land of the peasant;fourth accidentally went behind kakimto man and shows us his walk, where he's going, what its most basic habits ", 278,279 following paradoxical statement says what he thinks and what would Dzavattini:"We had to shoot" chronicle "newsreel about ourselves and about other people as much as we brush our teeth, that is every day."The person who says that works, his daily life, the words and deeds will never be deemed worthy to take even three lines in the newspaper, but which have an important place in human life, everywhere are constantly asking us what we intend to him to do.Range of such meetings, the possibility of such a "tracking", "peeping through the keyhole" limitless.

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Film Я ПЛЮЮ НА ВАШИ МОГИЛЫ 2
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