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CINEMA ART is a type of artistic creation based on various technical methods of recording and reproducing images in motion, usually accompanied by sound

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CINEMA ART is a type of artistic creation based on various technical methods of recording and reproducing images in motion, usually accompanied by soundCINEMA ART is a type of artistic creation based on various technical methods of recording and reproducing images in motion, usually accompanied by sound.
Until 1927, films were shown with “live” music, and, if necessary, with captions or commentaries by a projectionist, later a special commentator (silent movie), then with a mechanically recorded synchronous phonogram (sound movie).

Including dramatic, linguistic, plastic-plastic, musical elements, the play of actors, cinema processes and synthesizes the experience and aesthetic properties of literature, theater, painting, music in accordance with the peculiarities of screen art. Possessing the properties of “visible literature”, “moving painting”, “color music”, cinema meets the need for a synthetic form of creativity, expanding the potential of figurative expressiveness and enhancing the public resonance of artistic activity. The basis of the traditional aesthetics of cinema is the effect of reality, the immanent reliability of the photo image, and with the advent of sound cinema - sound recording and sound reproduction.
A work of cinema art is created in the process of joint work of a film playwright (scriptwriter); a director who defines the interpretation and implementation of the plan and directs the work of the other participants in the production; actors embodying the characters; an operator characterizing the action by means of compositional, photographic and color interpretation of frames; an artist who finds a graphic description of the environment and costumes of the characters (and in the animated film, the external characterization of the characters); composer, sound engineer, editor, etc.
There are 3 main types of cinema art - feature films, documentaries and animated films. In feature films, the means of performing creativity recreate real or fictional events, usually based on a specially written script or processing literary works - documentary or fiction, theater drama, etc. In the accepted Russian-language terminology, feature films are often called feature films, although they are in the proper sense words are many non-game tapes. The term “fiction film” (literally - a film based on fiction) is also common abroad, but it is also inaccurate, because in a feature film it is possible to create a work on a strictly documentary basis. Animated (animated) cinema is based on shooting fixed objects (usually successive phases of movement), which, when projected, are combined on the screen into a single movement. The most common forms of animation are hand-drawn, puppet, and computer, but this technique also makes it possible to reconstruct the movements of actors or extras, animate photos of stationary objects, styles drawn directly onto the film, etc. The animation technique allows you to reproduce both life-like situations and conditional stylized forms, up to a complete abstraction. The degree of artistry in documentaries created on the basis of real-life events and actions captured on film can be different in different genres - from purely informational chronicles to figurative journalism and documentary and poetry films constructed entirely according to the laws of art.

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Architecture of the world on the paintings by Joan Mañé

Alpinism in Andorra by Carles Gel

Andorra handicapped associations with Hi Arribarem

Castles and fortresses of Spain and France with Mathew Kristes

Cities of the Pyrenees and around with Andrew Morato

Cycling with Philippe Port

Dinner ideas of Andorra by Carles Flinch

Eat to live, live to eat with Carolina Kramer

Interesting places in the Pyrenees and around with Jane Cautch

International Club of Andorra informs

Motorcycles by Barbara Cryton

Natural science in Madriu-Perafita-Claror by Susanna Simon

Pyrenean landscapes on photos by Stefano Paletti

Psychology, sport management and hiking in the Pyrenees with Irina Rybalchenko

The sound of music with Dmitry Tolkunov

Weapons and equipment of the world on the paintings by Joan Mañé

Transport, weapons and best technologies by Andrew Panteleyev

World best cars by Jordi Vilaró

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n the 1920s, the search for the pictorial-plastic and rhythmic expressiveness of the cinematic image gained particular popularity. The most striking examples were German expressionism in cinema (P. Wegener, R. Wien, F. Lang, P. Leni, F.V. Murnau) with its emphasized make-up, painted exaggerated scenery, distorted proportions and French impressionism (A. Hans, J. Dulac, L. Delluc, M. L'Erbier, J. Renoir, J. Epstein) with an abundance of photographic painting effects. Their influence on other movements and national schools, especially Swedish cinema, is also noticeable. Otherwise, American eccentric comedy transformed narrative stereotypes (B. Keaton, G. Lloyd, M. Sennett, C. Chaplin); the principle of the story was not violated from the outside by metaphorical comparisons, but rather exploded from within by the eccentric structure of the gag, which violated the laws of everyday logic, continuing the tradition of eccentric forms of spectacular arts.
In a market economy, cinema became a profitable commercial enterprise, the right to solve creative issues was gradually appropriated by producers (this system was most fully embodied in Hollywood). Searches that did not correspond to the main spectacular-narrative line of development of commercial cinema were crowded out into the field of experimental cinema, where purely formal searches in the mainstream of such artistic trends as Dadaism (R. Claire), abstractionism (H. Richter, V. Eggeling, V. Rutman, O. Fisher), surrealism (L. Bunuel).
In the late 1920s - early 1930s, with the advent of sound in the cinema (the film “Jazz Singer” by American director A. Crosland, 1927) was considered the first successful experience, the palette of the screen was enriched by a sounding word and natural noises, more flexible and varied became forms of musical accompaniment. At the same time, the leading position of the fiction narrative full-length film was consolidated. By this time, the experimental currents had exhausted themselves, whose findings were largely assimilated by narrative cinema. In general, the development of cinema in the 1930s was marked by the creative development of the most viable expressive means of the previous period (adapted both to the level of development of the cinema technique and to the level of audience perception).
As a mass art form, cinema art was in demand as a means of political and ideological influence, which was especially evident in the direct use of cinema for fascist and militaristic propaganda in Germany, Italy, Japan, and several other countries. At the same time, anti-bourgeois tendencies also developed (the English school of documentary films, works of critical realism in France and the USA). During the Second World War, the role of documentary increased.
One of the achievements of the cinema of the 1940s was the so-called deep mise-en-scene, combined with intraframe editing, which allowed us to return to the reliability effect at a new stage. The founders of this specific method are J. Renoir, M. I. Romm and W. Wyler, and the most prominent representatives are O. Wells and A. Hitchcock. Instead of cutting the film and then gluing its fragments, the authors of such films separated the main thing from the secondary by moving the camera (and with it the look of the viewer) - often very complex, moving from character to character, from speaker to listener, from one event to another. In one frame, several plans could be equally clearly shown: front, middle and back. If in the first decades of the history of cinema, operators gradually learned to focus only a certain spatial area in which the action took place, their followers in the 1940s and 1950s, thanks to a special kind of optics, did the opposite operation. This made it possible to introduce into the frame, along with the necessary elements that are basic for the further development of events, secondary objects that form part of the information background. The screen was likened to a detective story in which the most significant details remain invisible, as they mix with others - insignificant or leading away from the line of investigation.


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Опубликовала , 12.10.2019 в 11:41
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