Film motoqueiros sem rumo to look online

To promote the coexistence of the first and second, the highest degree of consciousness to connect with the deepest levels of the unconscious: this is the dialectical machine.Integer stops being open, but this is going to watch online and to internalize the sequence of images, as well as to exteriorize in this sequence.The whole set of forms some knowledge on the Hegelian fashion, and it combines the knowledge of the image with the concept, as the two towards each other motion. There is a third point, no less manifest in the previous two. It is not from the image to the concept, and not from the concept to the image and identity of the concept and the image:concept as such is given in the image and the image itself - in the concept. This is not organic and not pathetic and dramatic, pragmatics, practice, or mysldeystvie. This mysldeystvie represents man's relationship with the world, man and nature; sensorimotor unity, which, however, is elevated to the highest degree.It seems to this movie truly intended. Bazin wrote, cinematic image contrasted image of the theater is that it moves from outside to inside, from the decor to the character of nature to man So, the more he is able to demonstrate the reaction of man on nature, human or exteriorization.Sensorimotor sublime inherent unity of nature and man, so that nature should be called indifferent.Already it expresses emotional or metaphorical composition, for example, in "Battleship" Potemkin "," where three elements - water, earth and air - harmonically show mourning Nature on casualties, whereas human reaction exteriorized in the development of the fourth element, fire, granting Nature new quality in a revolutionary combustionBut one gets a new quality, becoming a collective subject of his own reaction, whereas the objective nature turns into human relationships. Mysldeystvie postulates both the unity of man and nature, and the unity of the individual and the masses: the cinema because mass art.Just by this Eisenstein proves the primacy of installation: the subject of cinema is not an individual, but an object - intrigue or history; object movie - Nature and subject - mass individuation masses and not the individual. Something that unsuccessfully sought to theater, particularly opera, was achieved in the cinema: cinema got to individuality, t. E.to the mass of individuation as such, rather than see it as a qualitative homogeneity and reduce it to quantify the divisibility of the more interesting to note, as Eisenstein responded to his criticism of the Stalinists. His uprekaliv that he did not catch the really dramatic element myslideystviya, for what he portrayed sensorimotor connection from the outside and quite generally, without revealing its origin in characters . Criticism was immediately and ideological, and technical and political:Eisenstein supposedly stuck on an idealistic conception of nature, which replaces his "history"; on the concept of a dominant position outlet installation and overwhelming image or plan; on the abstract concept of mass, obscures the hero, endowed with personal consciousness.Eisenstein is well aware of what is at stake, and indulges self-criticism, 1 Eisenstein Tolstoy admired for what they could FORMS Rowan image by combining into a single unit the way people think and feel about the characters themselves, and how to think about them author: hence the "criminal" embrace Anna Kare Nina and Vronsky.

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Film motoqueiros sem rumo
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Cinema-garbage a box

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