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Fairy tales of the Viennese wood
FILM GUMIHO GAJOK Battlefield more and more like the statement, which did not meet the enemy camouflage and kontrpostanovkoy.But after all the fascist regime in civic life is marked by the production: "The real power is now distributed between the ammunition and logistics support software images and sounds," and until his death, Goebbels had dreamed about to surpass Hollywood, which became modern as opposed to ancient kinogorodom goroduteatru .Movie, in turn, seeks to surpass itself in the direction of an electronic image, both civilian and military - and all within voennopromyshlennogo complex. РЎСЂ.: V i i i I i o, В«Guerre et cinema I, Logistique de la perceptionВ», Cahiers du cinema-Editions de l'Etoile. 3 A r t a u d. В«La vieillesse precoce du cinemaВ».В«OeuvrescompletesВ», Galhmard, III, p. 99. is that it has a decisive importance. After a brief period, when Artaud believed in the film, the playwright, at first glance, doing great themes obrazadvizheniya in its relations with the thought.He explicitly said that the movie should not come across two reefs, the abstract experimental film, which was developed at that time, and on the propagation, figurative Hollywood commercial cinema.Artaud said that the movie is associated with neurophysiological vibrations and if it is required to make a shock, nervous wave, which is born from the idea, "because the idea is a matron, who has not always existed." Thought can not function except being born, she always represents a repetition of one's birth, a mysterious and deep.Hence Arto concluded that the subject of the image is the functioning of thought and functioning of thought is the true subject that could bring us to the images. He adds that the dream, in the form in which it is found in European cinema, inspired by surrealism, an interesting approximation, but for this purpose it is not enough:dream - too easy solution to the "problem" of thought. In addition, Artaud believes that cinema can equate to automatic writing, provided that automatic writing does not mean the absence of a song, and is referring to a supreme control that combines a critical and conscious thought to the thinking unconscious: it is a spiritual automaton.He adds that his view is much ahead of its time that it risks being misunderstood - even the Surrealists, as evidenced by his relationship with Germain Dulac, in turn oscillating between abstract cinema and kinosnovideniyami At first glance, these declarations and statements Arto Eisenstein not contradict each other:in the way of thinking is there a way to shock or vibration, which should lead to the emergence of thoughts within thoughts, the way of thinking of the image of a figure which will be translated into a kind of inner monologue, we are able to return shock. Still, 'All these themes are developed in Volume III works Artaud.About the "sink and a priest," the only scenario Artaud, which was carried out, the author is saying, specific films is vibration, reminiscent of the "mystery of the birth of thought" and this "may be similar and related to the mechanics of dreams, without being actually as such 'and is a "pure work of thought."Arto attitude to the film Germaine Dulac excites a lot of questions, and analyzed the Wyrm, В«Les surrealistes et le cinemaВ», Seghers.