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Fairy tales of the Viennese wood
movie right on Sado Maso philosophy has faced analo1 Pasolini.p. 211- beautiful pages, comparing death with kinema phy with the same point of view, we find already at Epstein: "Death gives us his promises through the cinema ...".2 Eisenstein happened to reproach himself for what he put in too Privileged position of the assembly, or coordination in relation to the coordinating mym parts and "analytical deepening": this is happening in the text «Montage 1938», «Lefilm: sa forme, son sens ».Here, however, we can not lose sight of how difficult it is to separate the genuine Eisenstein texts of ostentatious responses to criticism of Stalin cal. In fact, Eisenstein has always insisted on the need to be regarded an image or a plan as an organic "cells", and not as a rental indiffe element: the text of 1929Entitled "Methods of assembly" rhythmic, tonal and harmonic techniques already used for internal analysis of contents of each plan, deepening this analysis and taking into account the increasingly different "potential for" image.However, two points of view - one - installation and Drew Guy - image or a plan - take on the opposition, even if the opposi- tion should be allowed to "dialectically". -tech opposition to the concept of "amount of motion": the number are brought here and as an independent authority, how common dependence on the fact that it is measured.Should not here to stick to both points of view, as the two poles of indirect representation: the time depends on the traffic, but through the installation; time stems from the installation, but is subject to the movement? Classical reflection revolves around this unique alternative: the installation or a plan.There is one necessary aspect - it is necessary that the movement was normal: only meet the conditions of normality, it may be subject to time and turn it into a number, which indirectly measure it. Normally we call the existence of the centers:it is the center of the rotational motion, equilibrium of forces of gravity of the moving bodies, as well as monitoring center for the viewer is able to know or perceive the moving body and control its movement. But the movement, somehow evading centering seems abnormal and perverted as such.Antiquity faced with these movement aberrations that affect astronomy and even becomes more significant when the researchers move on to the sublunary world of men.And it turned out that the aberrations in motion once again call into question the status as an indirect representation of time, or the same amount of traffic as they elude numerical relationships.But every now and them not even shaken, but rather acquired an opportunity to appear in an explicit form and shake their own subordination to the movement by turning the chain of command. Consequently, direct appearance time on the stage contributes not stop the movement, on the contrary, the spread of the movement aberrating.This issue is important both for the cinema and for the philosophy, because obrazdvizhenie itself seems fundamentally perverse and abnormal movements.