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Fairy tales of the Viennese wood
, the film story of David Next, the camera goes up the outside wall of the apartment, it comes back to the stairs and down on it. Finally, our camera backed pulled onto the sidewalk and up the outer wall of the house to a dull apartment window, demonstrated outside.In this motion, modifying the position of fixed sets relative to each other, it would not be necessary, if it does not show the event, ready to happen any minute, changing a whole, which itself passes through these modifications:votvot woman is killed, she went to the apartment on their own, but now she did not wait for any help and murder inevitable. We will say that all this - an example of ellipsis in the narrative. But in this case it does not matter whether there is an ellipsis or not, and even whether there is a story.It is important that, whatever plan he would like two poles: it relates to the sets in the space where he introduces modifications in the relationship between the elements or subsets; and with the whole, expressing absolute changes in its duration.This whole is never limited ellipticity and narrative, although it may have the quality. However, the plan, whatever it may be, always has two aspects: it shows a modification of the relative position in the set or sets and expresses the absolute changes in some general or global whole.One side of the plan tends to be set, and it expresses the modification of parts of the set; The other side of it gravitates to the whole, and it expresses its change, or at least a modification. Hence - the position of the plan that can be abstractly defined as an intermediate between framing and mounting a plurality of the whole.The plan then gravitates to the pole framing, then to the pole mount. Plan and there is a movement, taken in its twofold aspect: it is the movement of parts of the set, stretching into space, but it is a change of the whole, are changed into the duration. And in this - not just abstract conditionality plan.For the plan acquires its specific conditionality to the extent that it provides a constantly moving from one dimension to another, or a mutual distribution of two aspects of their continuous interconversion. Let us recall Bergson's three levels: the sets and parts thereof; whole, coincides with the opening or changes in duration;movement that occurs between the parts or sets, but also expresses and duration, that is changing as a whole. The plan is similar to the movement, which constantly provides interconversion, cycling. It divides the length according to the objects making up the set; it combines the plurality of objects in one and the same duration.
film The story of David He continually divides the length to "poddlitelnosti", which themselves are heterogeneous, and combines the latest in the inherent duration of the universal whole.And if we assume that these split and merge carries the consciousness of the plan that can be said, that it works like consciousness. But the only consciousness which acts in the movies, has no relation to us, the audience, not to the characters: a camera, such a person, he does not like, such a superman.