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Many movies do not reflect their task 18 Aristarko Skuju physical reality.Almost all the films, developing theater, or at least, the traditional stories become stories, the significance of which obscures the value of raw material used in their creation.Yet Krakauer admits that there is evidence chgo both trends - "realistic" and "creative" - вЂ‹вЂ‹may be related. Their joint efforts yield results from an aesthetic point of view is much more satisfactory. How so?Kracauer rejects the "history", which they want to replace the dominance of reality in the film, in fact, he argues that, in principle, contrary to the intrigue cinematic approach.Documentary films, which does not recognize the artificiality, always preferring the inexperienced advance material, according to Krakauer, podtvezhdaet this hypothesis, it focuses attention on the actual physical existence of objects and remains true to the natural world.Truly a documentary with an interest in the visible world, is fully consistent with the spirit of the means of expression, it embodies his message to the people in the material provided by nature. Not chained intrigue, it is free issleduetnepreryvnost material existence. Unrelated "history", the camera can feel independent and capture events that would have been impossible to catch without its intervention.Here it would be to put an end, as there is nothing to add to that, Krakauer says, if a closer examination did not find that a documentary film suffers some limitations.By its very nature it is download the film Revansa
and intended to reproduce the environment in which we live, but from him elude those aspects of reality that can be transferred to the screen only through the efforts of download the film Revansa
and certain individuals.The disclosure of these parties is inseparably download the film Revansa
and connected with the human drama that can pass, that only by having recourse to the plot. Thus, the failure of the plot, although it is good for the documentary film, still puts it at a disadvantage.Here we are faced with the dialectical process that begins with the negation of "history" to go back to it later. This process is based on two opposing, yet equally deep sound principles.The first - the rejection of the plot - the respective observation Proust, who believed that the discovery, which makes film camera, suggests emotional detachment from them by the photographer. Picture, according to the French writer, - the result of exclusion, which means that a good film should resist the temptation of intrigue.The second principle is based on the wise remark OrtegiiGasset according to which part of feelings helps our ability to grasp and understand the events and facts."It is quite obvious that all the elements that seem to interfere with pure contemplation, - interests, feelings, impulses, likes and inclinations - in fact it is the necessary tools." Consequently, the requirement of "history" appears again - in the very bosom of the plotless film.In fact, most of the existing documentary reveals a persistent tendency to dramatize. Film Revansa
. But how, asks himself Kracauer, the director will be able to reconcile these two opposing principles?