This double relation to reality is that the semantic tension that develops in the film as an art. Pushkin defined formula of aesthetic experience with the words: "Above fiction tears shells ..." Here with brilliant precision is given the dual nature of the relationship of the viewer or reader to the literary text. He "burst into tears," that is believed in the authenticity, the validity of the text. The sight makes him the same emotions as life itself.But at the same time, he remembers it - "fiction." Crying over fiction - a clear contradiction, because, apparently, enough knowledge of the event made up, to a desire to experience emotions disappeared for good.If the viewer does not forget that the screen in front of him or the scene, constantly mindful of made-up actors and the director's conception, of course he could not cry and feel other emotions real life situations.But, if the viewer is not featured on the stage and screen life, and tears, forget that before it fiction, he has not experienced a specific artistic emotion. Art requires a double experience - both to forget that before you fiction, and do not forget that.Only in the arts, we can simultaneously horrified mischief event and enjoy the skills of actors. Dvuplanovost perception of art leads to the fact that the higher the similarity, the direct similarity of art and life, so at the same time, aggravation should the viewer a sense of reserve.Almost forgetting that in front of him a piece of art, the viewer and the reader must not forget that at all. Art - living phenomenon and dialectically contradictory. This requires equal activity and equal value of its constituent opposing tendencies. Numerous examples of this gives the history of cinema.In the early days of cinema moving image on the screen makes the audience a sense of horror physiological or physical sickness. Emotionally, the viewer does not distinguish the image and reality.But the art of Film input was only when combined shooting MГ©liГЁs possible to supplement the limiting likelihood marginal fantasy at the scene, and installation (practical invention which researchers download the film Jack cunning 3D
and credited Brighton school, Griffith, but the theoretical value of which was recognized only by the experience andResearch Kuleshov, Eisenstein, Tynianov Shklovsky and other Soviet filmmakers and scholars of the 1920s) helped expose the convention in combination frames.Moreover, the notion of "similarity", which seems so immediate and raw data viewer actually is a fact of culture, download the film Jack cunning 3D
and derived from the prior art experience and historical data taken in terms of types of artistic codes.
For example, the real world around us mnogokrasochen.Therefore, mapping it in a white photos - a convention. Only habit to this type of convention, the adoption of the rules associated with it allows us to decrypt the text, looking at the sky in the frame to take it without difficulty as kakihlibo bezoblachnosinee.Different shades of gray we perceive in the frame, depicting sunny summer day as signs of blue and green, and accurately establish the equivalence of a certain color and denotata.When color film footage painted steel unconsciously relate the audience not only with multicolored reality, but also to the tradition of "natural" in the cinema.