The film &quot;Andrei Rublev&quot;
Let us show how in the dynamics of the film's aesthetic reality, the styles of its artistic components are formed and how they, being created and being created, dissolve into each other, preserving and transforming.
This is a common and fundamental property of nature, of all its organic formations, which include a work of art.
Life as a way of existence of organic matter is the unity of the process and result, and this fully applies to the life of artistic matter is something qualitatively different. We will not argue, “documentary” or “picturesque,” for example, “The Ballad of a Soldier.” Let us ask the question: how are its “private” styles - acting, cameraman, artist and composer? How are they conditioned by the script style and developing it and how does the director's style, also determined by the script style, transform them into a new unity?
The pictorial solution “Balladas ...” is not, in general, the only possible one. The work of the cameraman and the artist to create the subject-spatial environment of the film receives a rationale in the style of acting, and vice versa, it is possible in this particular image-space-time. The fusion of chronicles and lyricism, everyday life and inner super-everyday pathos, the coincidence of the author’s attitude to modernity and history, the synthesis of the requiem and the hymn, the emotional and psychological unity of the time of the event and the time of the story about the event - all this components of "Ballad ..." and how it expresses all this entirely and completely the director's style, which is the style of the film - the ideological and artistic whole?
But, having shown the birth of a single style of the picture from the “particles” of its styles, the researcher will find himself in a big hug, a new problem. The film requires that the mutual dependence of his style and other artistic structures — fabula (event series), plot (figurative series), composition (controlling the transition of the plot into the plot), character, genre — was immediately disclosed. Is the style of "Ballad ..." not related to its genre? Outside the ballad genre, he did not work out: the genre of V. Ezhov, G. Chukhrai and their co-authors is not formality, not coquetry, he is serious, he is a discovery.
The historical-philosophical drama “Andrei Rublev” is often counted in the section of biographical films, along with “Vasily Surikov”, and the ethical-philosophical drama “Sola-ris” - in the section of science fiction next to “Teenagers in the Universe”. Funny typology! Is it possible to seriously study the style of these paintings, mistaken about their genre, and therefore not having a key to other structures — to the characters, to the plot in particular? After all, the film is informative only as a whole and can be correctly understood only in the unity of its artistic form. Our discussion, it seems to me, in the most convincing way showed the futility of an isolated consideration of style and the prospect of studying it in inextricable links with genre, character, plot, conflict, and even more so with the creative method. This path clearly leads us to the creation of a theory of style, and at this stage, he closely led to the realization of the key problem of the fundamental style-forming factors. love-models.net
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