Film Fen-fen Cheng to look online

It works with cinema photograms, ie fixed slices, and is twenty-four images per second. But, as often noticed he shows us not photograms and averaged image on which the motion is imposed, to which it does not adds:movement, on the contrary, belongs to the average image as an immediate reality. It seems that exactly the same is true of the natural perception. But this illusion is corrected to the perception, by virtue of the conditions that make it possible for the perception of the subject. But in cinema perception Corrected '«L'evolution creatrice», p. 753.We quote the text of Bergson's so-called "on the centenary edition"; in brackets we denote pagination recent edition of each book. 42 Gilles D ele'z KinoObrazdvizhenie one to 43 synchronous appearance of the image, but the viewer perceives the displayed unconditionally.In short, the movie does not add to the image of the movement, and gives us directly obrazdvizhenie. Despite the fact that it enables us to cut, slice has the mobility, it is not a fixed slice + abstract movement. Again very interesting that Bergson, we can say, I discovered the existence of the mobile sections, or "obrazovdvizheny."And he opened them to the "Creative Evolution" and before the official birth of cinema - in 1896, in his book "Matter and Memory". Opening of "obrazadvizheniya" perceived outside the natural perception, was a wonderful discovery of the first chapter of "Matter and Memory". Should we believe that ten years later, Bergson forgot about it?Or he succumbed to some illusions that turned the idea of ​​things already at its origin? We know that things and people are forced to "hide" doomed "Watch Online and hide" before they occur. And how could it be otherwise?After all, they crop up among the many in which previously were not included, and therefore not to be rejected, should nominate to the forefront of the qualities of the set, which they retain.So the essence of things never seen when it occurs, but always - in the "middle" of its existence, in the process of development, since it will get stronger force.And that Bergson knew better than anyone else, because he transformed the philosophy of putting the question of the "new" rather than the question of eternity, for example, he claimed that new life could not appear at its source, since the first was forced to imitate life matter ... Is not that also the case with the cinema?Is the cinema at the dawn of its existence, was forced to simulate natural perception? What was then the situation in the cinema? On the one hand, the shooting has been fixed, which means that the spatial and formal immobility of the plan;On the other hand, the movie camera "mixed" with the projection unit and worked with abstract and uniform time. Film Fen-fen Cheng. Evolution of the cinema, finding his own essence or novelty occurred due to the installation, the moving movie camera shooting and loss depending on the projection.After this plan ceased to be a spatial category, becoming in time; sections also become mobile. Here togdato cinema and found those "obrazydvizheniya" from the first chapter of "Matter and Memory". It should be noted that the first point of the motion of Bergson's harder than it seems at first.On the one hand, it is a criticism of all sorts of attempts to restore movement by means of the space traversed, ie by imposing cuts on fixed Instant abstract time.

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Film Fen-fen Cheng
cinema Genre
Cinema-garbage a box

exit Date on screens 00.00.0000
Quality of video DVDRip
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