film between the legs
412 Gilles D ele'z KinoObrazvremya 413 spatial dimensions. While depth remains included in the common sequence of parallel plans, it has sim volizirovala him time, but in an indirect way, while remaining subordinate There- mu of space and movement.The depth of the new type, on the contrary, directly generates a region of time, of the past, which is determined by aspects or optical elements that borrowed from the various interacting plans'.The collection of links nonlocalizable, always moving from one to another planats, and is a particular piece of the past, or continuum duration. , "The second problem concerns the function of the depth of the frame.We know that Bazin gives it the function of reality, as the viewer should independently organize their own perception of the image is not movie download Between the legs
and to receive the image of the shelf.Mitri denied it, for he saw in the depth of the frame is very coercive power that forces the viewer to follow the diagonal, or look into the light. All the same position Bazin was difficult:He proved that this "growth" of reality is possible film between the legs watch online in excellent quality
and to receive and through "excessive theatricality" as we have seen in the "Rules of the game" But, as seems to be no theatrical feature or function of the reality of this complex problem is not exhaustive.In our view, there are a lot of depth frame functions, and they all come together in direct obrazevremeni. A characteristic feature of the depth of the frame is that it changes the subordination vreme1 Wed .: Wolfflin, p.99, 2 The debate between Bazin and Mitri discussed two issues.However, it appears that the point of view of Mitri much closer to Bazin than It finds himself. First, if you can call Wells a pioneer in the development of the depth of the frame, or his, we see a return to more ancient method of early cinema - he believes Mitri?Nevertheless, the Mitri shows on something in the "intolerance" is there a parallel overlap between pla new, but not their interaction, like Renoir and Welles: therefore he recognizes the rightness of Bazin in this essential point. Wed .: «Esthetique etpsychologie du cinema». Ed. Universitaires, II, p.Second, whether the function of this new depth of more free function of reality, or is it, according to Mitri, as mandatory, just like any other? Whatever it was, Bazin willingly acknowledged the depth of the theatrical nature of the frame in Uaylerav the same extent as that of Renoir.It analyzes one uaylerovsky up of ma fille "Chanterelle" where a fixed camera only "logs" in the depth of the stage, but in the words of the theater.
film between the legs
But the cinematic element just helps to ensure that walking in the salon twice a character can get out of the frame - first to the right, in the foreground, and then to the left, once there where the background - and then roll down the stairs: off-screen space works quite differently than the scenes.Here, the movie uses "excessive theatricality" koto paradise ultimately reinforces the impression of reality. Therefore, it can be argued that Bazin, without ceasing to recognize the depth of the entire set of functions of the frame, gave priority to features of reality.