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Fairy tales of the Viennese wood
FILM REVANSA Say, there are the first studio MCA It works in a very small space. Actors can play freely, fairly authentic feel.First Studio performances in this initial small space make a deep impression. Seemingly powerful Stanislavski made a decisive step forward. But here's the studio goes into great theater room and a step forward is a step in the direction of:Room sizes are destroying everything that the hard-won genius of theater directors. There is a second, third, fourth studio, there are numerous children, filial organisms and theater in Moscow and other cities. And everywhere is the same:until the play is played in the chamber atmosphere with almost no decorations in the tiny room where sitting sixty, one hundred, two hundred well, work the Studio produces a striking impression of innovation, only got stronger as the body to normal theater room, he started to lose one position after another.Actors start to play as hundreds of thousands of actors from other theaters - a little better or a little worse. Cinema completely unfamiliar these agonizing search. The fact that the theater is the most difficult of the tasks in the film allowed the natural images by the camera, view, close-up and microphone.True, and the film comes to realism is not a direct route, however, and in the film realistic tendencies are gaining a stronger position to work, step by step. Even a close friend of cinema - a technique - and that sometimes throws us back.For example, the invasion of silent cinema sound at first led to the loss of many high positions, won the dumb cinema in the last years of its existence. Cinema with sound has taken a number of theatrical conventions, including the conditionality actor playing poteatralnomu, that is technically emphasized.Since then, it took thirty years, but still to this day struggling with this film coating theatricalism;he gradually recovers truly cinematic behavior on the screen - the life, not the life and the sense of, seen the device, rather than conventional representation of feelings, purposeful human action, not theatrical action. The emergence of new colors for some time to reduce the vital truth of cinema.Aniline coloring of the film has given cinematic spectacle known convention, sometimes nasty oleografichnost. But even with this disaster we are fighting. In his forward movement difficult film gradually learned not only to restore semblance of life on the screen, but to explore the life, just as it explores the good literature.No wonder the most powerful of western cinematic trends in recent years was the Italian neorealism.
WATCH THE FILM REVANSA ONLINE Some of the Italian paintings are striking in his deep, careful attention to the man to life in general. The director uses a movie camera as a tool for the study and observation.For example, this applies fully to such films as "Bicycle Thieves" by Vittorio De Sica. However, I have no doubt that in a few years will give samples of cinema even more detailed, more accurate and more in-depth study of human life.