Considering that there are two trends in art: the tendency to fix results and the tendency to reveal life processes, Gerasimov resolutely opposes the limitation of "fixing the result." He understands art as an autopsy of life processes. That's a good idea. And the author supports it by referring to the largest phenomena of Soviet art. However, it seems that the dialectic of tendency and result should be emphasized more clearly. Let us recall Hegel, who said that one does not exist without the other.



It seems that another problem of S. Gerasimov is no less significant — the problem of the specifics and nature of cinematography, which he invariably understands as art, especially "closely related to folk life and for which there are no boundaries in comprehending the entire complex modern world."



Finding out the specifics of cinematography, Gerasimov approaches it by comparing cinema with literature, on the one hand, and with theater, on the other.



Film drama is a kind of literature, which Gerasimov believes is both the basis and the breeding ground for cinema in general ("... without literature, cinema as an aesthetic genre cannot be fully understood").



Gerasimov, as already mentioned, is a staunch advocate of the expanded or novelistic form of film drama, where the life process is reflected most fully. However, this does not mean that he is a proponent of "dedramatized" cinema. The dignity of the work for him is determined primarily by how deeply and acutely the conflict is conceived and developed, how original and unique the characters of the characters are revealed, to what extent the issues of concern to society are reflected in the film.



The book contains many pages devoted to the profession of a director, as the author understood it from the experience of his own productions, and as a result of many years of teaching practice. A film director, Gerasimov believes, is very similar and different from a theater director. Unlike in the theater, in the cinema the viewer sees a direct and comprehensive embodiment of life, not limited to the stage box and "verbal duels". Unlike the theater, the synthetic artistic image in cinematography is extremely specific and "textured" — and this is due to the cognitive principle inherent in cinematography.



The filmmaker has at his disposal a multicolored palette of visual and expressive means specific specifically for cinema, among which a special place is occupied by editing. It seems that in modern debates about installation, Gerasimov's thoughts deserve special attention.



He opposes the exaggeration of the role of editing, against the view that editing is the alpha and omega of cinema, that editing introduces something new into the content of the picture that was completely absent from the shots. For the author of the book, this point of view is fundamentally wrong, since, firstly, film editing is nothing more than a peculiar expression of previously known compositional and rhythmic laws inherent in theater, literature and music, and secondly, because the content of the film equally, if not more, depends on the intra-frame material. which captures the phenomena of reality. Nevertheless, OI is by no means inclined to deny the importance of installation in its modern sense. How to get a promo code in 1xBet There are two ways to get this promotion. In the first case, you can find the 1xBet promotional code in the appropriate storefront, and the second involves visiting a third-party resource that offers an affiliate bonus. The 1xbet free promo code you can receive a 100% welcome bonus of up to €130 when you make your first deposit. If a player does not want to spend time playing games in various contests and lotteries or he is not yet registered in the bookmaker, then the 1xBet promotional code can be obtained on a third-party resource.