This dissonance in fittings is not unique. From one shot to another there is not necessarily consistency between the positions of a character or between the filmed parts of his body, or even between one character and another: Ozu cuts a shot clearly and does to be followed by another without being concerned with the physical and spatial likelihood that cinema has the habit of presenting to the spectator. In fmovies you can have the perfect option now.
What the Cinema Explores
Thus, in Ozu’s cinema, body and objects are freed from space and classical conventions of representation, to present their extra-fictional presence while being constantly maintained, the narrative and fictional issues are constantly overwhelmed, split by a deeper, more essential dimension, like an underlying stratum or an additional melodic line in the global polyphony. Ozu thus multiplies unexpected visual processes, such as the division into several shots of the exhibition plan’s overall vision of the place of action. Images appear which form tables, linked together by symmetry, form, light or even analogy.
- Whether through the editing or the composition of the filmed images, Ozu invents a world from which a feeling of strangeness emerges, a world with changing spaces and inconstant forms when at first glance it seems static. He invents an alternative reality whose immobility hides a thousand movements. The filmmaker disconcerts the gaze and thereby consciousness.
- For Hasumi, his work is so unique that it even ceases to be a cinema at all times. But already in 1980, Alain Bergala wrote that the work of Ozu is one whose discovery, even late, obliges us in a certain way to rethink cinema. This work is not one which ranks without resistance in the categories which usually allow us to organize the field of cinema. It cannot be annexed, as it is, to some territory already known and described on our mental map of cinema. It occupies on a certain number of questions which haunt all, today, our questioning of cinema, a paradoxical place which obliges us to see more closely, to take into account, the continent-Ozu.
This is what makes David Bordwell say that the Ozuian experiment is artistic before being esoteric and religious, and Junji Hori that the fact of approaching it within the framework of Japanese aesthetics comes back precisely to practice pruning of all the elements which do not find their place in this framework.
Today Ozu is better known than Mizoguchi. Most of his films are visible on DVDs and studies have multiplied and diversified. Some like Kyoshi Kurosawa consider that his cinema comes from nowhere, that it has no anchor.
The true Purpose
The purpose of this work is to identify in what form the Soviet audience received information about Italian cinema as well as analyze the influence of Italian cinema on Soviet everyday life.
To achieve this goal you need to formulate the following tasks:
- Describe the process of the origin and development of Italian cinema
- Summarize the main significant processes that took place in Italian cinema
- Identify the main Soviet periodic sources, which one way or another, they covered the phenomenon and problems of Italian cinema
- Analyze the above sources and evaluate
Movies that could warm up the militaristic moods, they met with them actively support. It is no coincidence that the propagandist of war G. D’Annunzio at this time stated in one of his speeches that cinema could be a means the re-education of the people in the interests of the nation.