فصل النظرية ، سیکفرید کراکاور وجماليات الواقعية ٢-a .. كتاب فهم السينما

allowed in cinema, but Jane Austen, with her cleverly crafted plots, is not.
Photography is conscious Krakauer tends to regard all conscious elements as "non-cinematic". A machine has to record what is (being) When the matter of the subject is far from physical reality we realize the workmanship and therefore our pleasure diminishes. For example, historical films tend to be non-cinematic because the scenes are “a reconstructed structure. The world of the film is closed, since beyond the frame is neither the end nor the real time and space, but rather the accessories of the movie studio in the twentieth century” (10- (4) such as fictional films In which we are more clearly aware of the fabricated things, so instead of focusing on what is presented in front of us, we become preoccupied and marvel at how certain artistic effects have been achieved, as they have no literal equivalent in reality.

The importance of flexibility Krakauer reduces the audience's response to unrealistic films. Certainly, it is easier for the film-maker to create the illusion of reality if the story of his film takes place in a contemporary environment, because the world of cinema and the world of reality are essentially the same thing. It is also true that they are often obituary with artificialities in historical and fantasy films, but primarily when the cinematic techniques are heavy and confused. On the other hand, there are hundreds of films that seem saturated with the details of a bygone period. Many of the scenes in The Birth of a Nation seem authentic, like the images of the civil war by Matthew Brady. For example, Kubrick's movie (2001 A Space Odyssey) was not filmed, of course. Most viewers agree that it is completely convincing in its sense of authenticity (5-10), even the animated film. Like Disney's Snow White and the Seven Dwarfs) it offers us a "closed" world that we can enter and forget about the literal outer world of reality. space and with

Other films intentionally exploit the dual presence of the audience. As Dr. Johnson pointed out many years ago, theatrical audiences do not literally believe they are seeing events of abyss. Although the viewers present a kind of willing belief in the events on the stage, they are always aware of the fact that they are in the theater and that they are observing an artistic performance and not the real thing. The same principle - the aesthetic dimension - applies to many films (10-6) in the movie (Tom Jones), for example.
Every detail of the period is convincing and authentic, but Richardson intentionally breaks this illusion by drawing our attention to the camera. In one of the scenes, Tom indulges in a loud fight with the owner of the inn in Upton, and suddenly turns around alarmed and addresses the camera - that is, we, Richardson, in fact, reminds the audience that we are in a theater watching a movie. and outside the eighteenth century world of the original story.

We find similar methods in the historical plays of Bertolt Brecht, who distanced his audience from the world of the play in order to allow the viewer the opportunity to draw specific political conclusions based on the contrast between the two time periods. Actors step out of their roles to address the audience and comment on the stories and characters in the play. Techniques of this kind are common in the films of Brecht's screenwriters Don't forget, including Jean-Luc Kodar Kodar insists that the masses must see that what they see is not reality but a coordinated picture of reality. In fact, Kodar's Weekend cleverly pokes fun at cinema's simplistic realism by having his characters comment on the film's "weirdness" they appear in in Lucky Guy. The events of the film are played by rock singer Alan Price.

Finally, as Pauline Kael points out, audiences often enjoy what the film offers of artificial things. It is part of the pleasure of watching a movie. Musical films, for example, are generally enjoyable because they are different from everyday reality (7-10 (such as that in The Exorcist)), where the viewer derives pleasure from his wonder at how director William Fred Kane achieved some supernatural special effects, in addition to his enjoyment of the same effects. . In short, the response of film audiences to unrealistic films is very complex. The viewer can suspend his doubt in whole or in part or He can switch between these two extremes. Explanation Krakauer's book is certainly useless in explaining why impressionist films have an effect. On the other hand, his theory is very sensitive to why realistic films have an effect. The second title of Krakauer's book speaks not of "simulating" or "recording" physical reality but of "recovering this reality." Reclaiming something is getting it back or saving it from oblivion. Even real-life movies go beyond everyday life in a way. The copier keeps the accidental parts out of this mess and saves them from obscurity and disintegration. An examination of any real-life film shows what Krakauer is trying to get at. In Brian Forbes' "The Whispers", for example, the deeply illustrated shots of the run-down apartment owned by the elderly heroine Edith Evans tell us a lot about her loneliness and neglect. Dozens of bottles of milk pile on the table, yellowed photographs pile on the frame of the wall fireplace. The groaning sounds of the walls and the dripping faucets alone offer the old woman lively company--these are the sources of whispers.
Apartments are everywhere. In real life, we usually pay attention to less disturbing scenes, but after witnessing these scenes, few people can remain indifferent.

To the loneliness of this old woman and her poverty.

Jean Renoir's films are full of "common" touches of poignant details because they are real and observable. In his movie Al-Waham (The Great), for example, prisoners of war mess around in a closet full of clothes in preparation for a theatrical performance. A spiteful prisoner mockingly tells a gentle young man to wear a wig and a woman's suit. With great haste the boy tries on the suit, and while the others are busy with exciting preparations, the young man in his clothes enters the room, and the whole assembly is suddenly silent. As the shy young man jokes about his dress, the camera slowly turns to show the sad, looking faces of the other men, all of them remembering how long they haven't seen their wives. A wonderfully moving scene, yet it is simple and discreet, as is the case with many real-life situations. The scene embodies the sudden transition in atmosphere that can accompany the simplest incidents.