diziler merry happy whatever diziler better call saul izle 1

It is not often that film experts turn to such an important field of cinematographic activity as film education. It can be said that the young researchers R. Roslyak and O. Bezruchko entered the territory that until now remained on the margins of film studies. In addition, few researchers were able to master historical facts with the help of archival documentation. R. Roslyak's text reveals to the reader a kind of terra incognita, because during the Soviet era, Ukrainian film education was persistently relegated to the shadows, weakening it also purely organizationally (closure of the film institute, departure of personnel, etc.).

The further development of the world film process in the 1940s and 1960s was associated with the emergence of various directions that testified to the interesting searches and experiments that took place in its bowels. Prominent artists of world cinema stood near their origins. Thus, the phenomenon of "Italian neorealism" was associated with the names of R. Rossellini - "Rome - an open city", "Paisa"; V. De Sica - "Bicycle Thieves", "Umberto D.", "The Roof"; D. De Santis - "There is no peace under the olives", "Rome, 11 o'clock"; L. Visconti - "The Earth Trembles", "The Most Beautiful", whose creativity was stimulated by the artistic heritage of the outstanding Italian writer J. Verga.

The theoretical basis of the Western avant-garde became the psychoanalytic concept of 3. Freud, the main task of which was to penetrate into the hiding place of the human psyche and explain the specifics of the unconscious. The experiments of the French avant-garde and German expressionists became vivid film illustrations of psychoanalytic theory.