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directly, without flashback'a and beyond whatever it was memory. This, in particular, for the two great theatrical films on Shakespeare, "Julius Caesar" and "Cleopatra."True, the historic nature of these films is playing instead of memory. However bifurcation time vested in them literally, and that prevents the use of flashback'a. Interpretation of Shakespeare's "Julius Caesar," Mankiewicz emphasizes psychological opposition between Brutus and Mark Antony.And the fact that Brutus appears absolutely straightforward character: of course it hurts attachment to Caesar, of course, he is a skilled orator and politician, but his love for the country does not allow him to turn from the straight path. We were told that no character Mankiewicz, developing linearly. Yet, that is precisely the Brutus.Appealing to the people himself, he can make a similar speech, Mark Antony, and he is not and does not leave an observer, he finds himself in the proscription lists, it is doomed to failure, alone and forced to commit suicide - immobilized in its directness and even having understand at least something of what had happened.Mark Antony, by contrast, is a forked type par excellence: it is depicted martinet, played up his clumsy manner of speech, a hoarse voice, poor articulation, pronunciation plebeian, he says, unusual speech, abounding bifurcations, whose purpose - to pull the Roman people to their side.Finally, the "Cleopatra" heroine becomes eternal "bifurkantkoy" it is bifurcated and constantly changing decisions - while Marc Anthony has not made mad love, and cornered memories of Caesar, on the one hand, and the proximity of Octavian - on the other.Hiding behind a pillar, he saw one of the bifurcations of Cleopatra on a date with Octavian and hid in the back of the stage, soon to return. And he died, and did not understand what had happened, although having regained the love of Cleopatra in her last bifurcation.All sorts of shades of pink, sometimes rich golden hue to indicate constant variability of Cleopatra. Mankiewicz was ashamed of this film, although the film of no less great, and maybe he did not like it is the imposition of heavy and too rational justification for the bifurcation of the queen.Once again, we come all to the same conclusion: either flashback - this is purely conventional sign, or it means "beyond" excuse - the fate of Carne, bifurcations time at Mankiewicz.But in the latter cases that gives flashback necessity does so only relative and conditional, and thus can be download the film Trembita
and expressed 350 Gilles KinoObrazvremya 351 otherwise.
And it's not just failure in relation to flashback'a obrazuvospominaniyu, there is also a deeper failure obrazavospominaniya to the past.Bergson constantly reminded that obrazvospominanie itself does not carry the label of the past, that is, it is not marked "virtual", what represents and embodies and which distinguishes it from other types of images.If the image is "obrazomvospominaniem", then it is only to the extent that he is looking for "clear memory", where it is, pure virtuality contained in hidden areas of the past, as "proshloev-itself" ... "Net memories, called from the depths of memory, developed in obrazyvospominaniya ";"Imagine - it is not the same as remembering.Of course, the memory, inasmuch as it actualized, aims to revive the image, but the converse is not true, the image itself is not sootneset me with the past, if I did not go back in time to find him, thus tracing the continuous forward motion, which led him out of the darkness into the light.