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film Bugs Bunny Road Runner or watch online attempt to use "close-up time" in the movie "It's a good life" has led to severe Pudovkina creative failure. " Whatever it was, Pudovkin saw in "the doers of the shears' true language filmmaker:individual pieces and scenes of the film correspond to the words and phrases of the writer; why "as well as the writer attaches to your personal style, the film director is inherent in the individual installation 'welcome statement." Op. in the book .: Lebedev Outline the history of cinema Pudovkin CCC, Featured Articles, p. Ginsburg, of the theoretical legacy of Eisenstein and Pudovkin.- "The Art of Cinema", 1954, number Pudovkin, Featured Articles, p. In addition, the installation authentic material for the film is no longer the reality.The reality exists in a variety of mounting pieces of the film, but the director, shortening, lengthening, or connecting them with each other according to their own will, in opposition to the real time and real space their "ideal", ie cinema, time and space.The most important methods of installation Pudovkin considered "contrast", "overlap", "assimilation", "simultaneous" and "leitmotif". Of course, the installation is the basis for the aesthetic Pudovkina also sound film. In one of his later works, he instinctively put a number of questions of the theory of sound cinema and outlined solutions.The new discovery, he is not regarded as a technical invention, allows to improve the natural image reproduction, and as a new means of artistic creativity. The first task of sound film Pudovkin considered the task to increase the expressive power of film.Synchronicity does not meet this requirement because the closer to the movie theater photographed; it is achieved by means of a mediocre imitation of reality. The basis of sound film is to organize a series of visual and sound on two separate rhythms. For example:Image can capture the rhythm of the world, while the soundtrack follows the course of human perception, or vice versa. There zritelnoakustichesky counterpoint, where sound carries a subjective function, and image - an objective, or vice versa."The unity of sound and image semantic relationship is achieved as a result of which, as we now show, is a more accurate portrayal of nature than when it is a shallow copy.Mounting a different image in a silent film, we have to seek unity and freedom that occur in nature only by its abstracting the human mind.Now we can sound the movie within the same celluloid tape not only to mount various points in the space, but also to introduce by association with the image of the sound, revealing and reinforcing characteristics of both series;where a silent movie we had just a clash of two opposing elements, now we can face the four. "Of course, as we have said, the verb "cut" is still valid also for the sound film, although "many are of the view that with the advent of sound installation techniques developed in the period of silent cinema should be thrown overboard."Mistaken those points Pudovkin, who believe that the sound kills "the specifics of cinema", and therefore the perfect time, "The human eye is able to easily and instantly read the content quickly change the visual frame, while the ear, they say, may not be as instantly catch sense changes in a sound recording.