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Fairy tales of the Viennese wood
FILM THE RIGHT TO SADO MASO Such is the mystery of this in Peguy and Blanchot, but also from Dreyer and Bresson, the difference between a process and a passion that still inseparable from each other.Active causes are determined by the state of affairs, but as the event itself - affective, the investigation - to look beyond the causes and sends only to other consequences, but the causes are addressed between themselves.This is the wrath of the bishop and the martyrdom of Joan, but among the roles and situations remains a need to affect was produced and operated his characteristic combinations, such as "opportunity" of anger or malice, or "quality" of sacrifice and martyrdom.The point is to learn from the process of passion, and of events - that inexhaustible and glittering part that exceeds its own actualization, "achievement, which itself has not come to pass." Thus, the affect is something expressed happens, but to the state of things is download the film The right to Sado Maso and expressed not send:it refers only to express his party, which, combined or separated, give his own driving matter. The film, made up of short, close-ups, "takes over" the part of the event, which can not be realized in a deterministic environment. You should also pay attention to the exact match of means this.Affective framing is achieved by cut close-ups. Sometimes in the mass face vyreKontaminatsiya words В«interneВ» and В«eternelВ». - Note. per. 166 Gilles Delee KinoObrazdvizhenie 167 zayutsya egregious mouth or toothless grin. Sometimes cuts the face frame horizontally, vertically or diagonally, sideways.A cut in the movement are in the process of their implementation, installation with the same compound - systematically false, as if you want to split too real or too logical connection.Jeanne also often face falls to the bottom of the frame, so that a close-up captures a fragment unfilled decor, empty zone, the space of the sky, where it can hear the voices. Here is an excellent example of turning around and turning away people.These cutting frames correspond to the notion of "dekadrirovanie" proposed for designation Bonittserom unusual angles, which do not justify the required action or perception.Dreyer method avoids the "linear perspective - the reverse perspective," which would preserve for each person a real relationship with someone else and would still be involved obrazudeystviyu;he prefers to isolate each person in close-up, filled only partially, so that the position of the left or right to directly enter a virtual compatibility, which has no need for a real connection between people.Affective storyboard, in turn, operiruettem that Dreyer himself called "fluid close-ups."This is undoubtedly a continuous movement through which the camera moves from close-up to the middle or to the general, but in particular it is a manner to treat middle and an outline of how big that is achieved through the elimination of a lack of depth or perspective.This is not the approximate plan, and whatever plan that can achieve the status of a major: they inherited from the division of space tends to disappear.