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"Where we are given to see too much, we do not see anything", 169 - he wrote.The Problem of these diverse signals and isolated reading was one of the main in physiognomy and directly affected the attitude toward the visual texts. Lavater, who wanted to banish from the face of all the random, "accidental", considered the ideal image filled with ink silhouette, denies the "fast" signals.In the first half of the XIX century aesthetics Spearbreaker around the question of whether the painters depict faces, distorted grimace, that is "fast" signals. But even more the question arose in connection with the advent of photography and the possibility of an instant fix.Schopenhauer and Darwin immediately preferred photographic fixing facial before painting. Krukenberg, by contrast, download the film Revansa
and argued that the physiognomic judgment is not download the film Revansa
and based on the moment, but as a result of synthetic impression of flowing motion in time 170, the same as the photo would patognomiku translates into the category of physiognomy.Especially characteristic of throwing the famous German physiognomists Theodore Piderita who denied physiognomic role and painting and photography and works on the basis of compromise invented them - special stilizovannosinteticheskih engravings, supposedly designed to detect the motion of static synthetic theory of value and is also Balazsthat he can effectively overcome the "dead-end" perspective dismemberment of different layers of fine text. Balazs assumes its indivisible, organic unity. This unity and indivisibility theorist sees the main peculiarity of physiognomic text.That "natural language" that "wrote" the text, based on the idea of вЂ‹вЂ‹a vital, energetic and transcendent meaning, coming out from the depth of penetrating the multiple layers of existence. The energy with which the meaning breaks out, and determine its viability, which is sometimes download the film Revansa
and described as "erotic."Balazs highly characteristic for interpretation in terms of cinema РјРЅРѕРіРѕСЃР»РѕР№РЅРѕСЃС‚РёРѕРґРЅРѕСЃР»РѕР№РЅРѕСЃС‚Рё. This view allows a radically different way to integrate the familiar problems of flatness and superficiality image, gives the concept of "apparent" missing it depth.At the beginning of the "visible man" Balazs describes theater as "something ambivalent": in the theater we experience the drama and its presentation. In this case, the actors - it is "only the interpreters of text that from start to finish is available to us through the game - in the original.This is because the material of the theater consists of two layers of "Cinema, not having as pronounced literary basis, does not encourage the viewer to a permanent layer threading games and reading through a text layer.
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Balazs Therefore, initially defines the movie as a" single layer "text. However, he immediately also stipulates:"However, cinema, does not seem to intend to abandon the literary" depth ", which is the third dimension of thought and by the fact that the apparent surface phenomenon given the opportunity to anticipate the other hidden.