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Fairy tales of the Viennese wood
movie Bugs Bunny or Road Runner Episodes of the Civil War in "Love of Jeanne Ney" belie a strong influence of Eisenstein and Pudovkin: Pabst even resorted to a typical Russian frame when the human figure is removed from the bottom, to symbolically emphasize the arrogance of the hero or his desire for power.These roll nevertheless does not detract from the original painting Pabst. His "Love of Jeanne Ney" superior "joyless lane" is not only the breadth of coverage of the life, but also the sequence in which the film is embodied reality. Pabst recreates it on the screen with inexhaustible ingenuity.Episodes of civil war in the Crimea have orgy anti-Bolshevik soldiery. Critic Kenneth MacPherson writes about it in the English magazine "Close Up": "To remove this episode, Pabst collected one hundred twenty Russian officers in their uniforms - and paid them twenty marks per day.He put them vodka, led women, waited a bit and began to quietly withdraw. "Similarly, in the film shows Jeanne Andrei wandering around authentic Parisian area - two ordinary passers-by, lost in the everyday crowd.But even if Pabst not always resorted to this poludokumentalnoy frames, although resting on them quite often, Pavilion episodes he shoots so that they appear for certain extracts from real life.Like "joyless lane" in "Love of Jeanne Ney" Pabst combines fragments of reality as if by chance, even in cases where they symbolize the inner life processes. When the Crimean episode Jeanne says goodbye to Andrew, bursts into a shower and crowds separates lovers, it looks all the same coincidence.Your operator Fritz Arno Wagner Pabst forced to work in natural light, as well as to freely manipulate the camera. In an article on "Love of Jeanne Ney" Paul Roth writes: "By the will of Pabst Wagner camera prowling the corners and running on the heels of the actors ...Every turn, every angle, every camera movement is consistent with the real stuff, which she takes to express a certain mood. "From Paul Roth observation that the mobility of the traditional post-war German film cameras in Pabst changed its former function.In fact, relaxed camera Carl Mayer, imprinted an imaginary world in which unbelted instincts, and the ubiquitous camera Dupont in "Variety", performs quite realistic task, yet create stylized, fictional reality, not objectively reflect the existing reality.Unlike his predecessors Pabst "liberated" your camera to shoot random combinations of real-life phenomena. "Love of Jeanne Ney" begins with an episode that exposes the vile little soul Halibeva:first shows the tips of his shoes, then the camera crawling on his feet, getting to scattered newspapers, cigarette butts on the table, watching the movement of his hands, to find a good butt, looks into his face and then incorporates a piece of dirty hotel room, where Ghalib rolls on couch.