英国论文代写价格：电影理论
正如本文所述，电影被描述为具体化的、交流的和强制的。本文进一步阐述和提出了电影理论的意义，进而认为电影包含了视觉世界语。这篇文章的评论描述了电影中的语法，相关的词汇，甚至是它的一般术语是如何使它在观众眼中更容易被看到的。那些把电影看作一种语言的人往往依赖于文字和镜头之间的相似性。串词并不能产生智能的视觉艺术作品。文章还引用了普多夫金和爱森斯坦的话。这些作者提出的问题是，除了过渡现有的新资源所需要的摄影现实之外，还能提供什么。这就把它们变成了一种独特的新艺术。他们的回答是蒙太奇。从某种意义上说，答案是蒙太奇，它将电影片段艺术或大的短单元按顺序组合在一起，最终完成电影。文章还讨论了各种各样的电影，如格里菲斯的《一个国家的诞生》和《偏狭》，苏联的导演们承认格里菲斯欠了他们更多的债。电影中所描述的这种债务并不重要，因为他有能力拍出比其他人更好的照片。这是至关重要的，因为这导致蒙太奇发现。这是一种技术，以表明整个流体一体化的总射程。反过来，它从近距离的极端到全景的距离来反映图像，从而产生最连贯的叙事形式。这种连贯的叙事方式又具有最系统的意蕴和最有效的节奏模式。正如文章中所描述的，当这种表演开始时，格里菲斯为电影语言的发展做出了贡献，并创造了电影独特的艺术。从这个角度来看，可以说这篇文章阐述了不同类型的电影技术，如使用蒙太奇和摄影元素。文章还批评了不同作者对这些技术的批评方式。例如，爱森斯坦认为冲突是必要的，因为他把它看作一种表达。这种表现表现在与马克思主义辩证原理有关的形象领域。爱森斯坦进一步认为，句子的意思越简单，就越容易使用简单的单字。这反过来又将电影本质的意义描述为镜头之间辩证互动的结果。与此同时，普度金认为蒙太奇是一种相互建构、相互补充的技术，仅仅具有理论意义。这样的理论导致了以更刻意平静的节奏创作真实的叙事。这些差异有助于对拍摄技术提出批判性的分析和反思。
英国论文代写价格：电影理论
As per this article, films have been depicted as embodied, communicated, and enforced. The article further depicts and suggests meanings to film theories who in turn consider that film is inclusive of visual Esperanto language. The article’s critique depicted how the grammar in the film, its related vocabulary and even its general terms are responsible for making it more viewable in the eyes of the audience. Those regarding film as a language often depend upon the analogousness between words and shots. Stringing words simply do not result in producing intelligent visual art works. The article also cited Pudovkin and Eisenstein. These authors raised questions on what more can be offered than the mere photographic reality that is needed to transition the new resources technically present. This converts them into a unique kind of new art. The reply given by them was montage. The reply is montage in the sense, that it combines film pieces art or large units short in sequence to complete the film finally. The article also discussed various films such as “The birth of a nation” and “Intolerance” by Griffith for whom the directors of Soviet have acknowledged more debt. This debt as depicted in the films was not essential, as he had the capability to take better images than anyone else. This was essential as this led to have montage discovered. This was a technique to indicate total range of shots across fluid integration. In turn, it reflects images from close up extremes to panorama distances in order to produce the most sequential form of coherent narration. In turn this coherent narration has most systematic implication and the most efficient pattern for rhythm. When this was performed, as illustrated in the article, Griffith contributed to cinematic language development and invented the film distinctive art. From this perspective, it can be said that the article illustrated distinct types of film techniques such as the use of Montage and photographic elements. The article also critiques the way in which different authors have critiqued these techniques. For example, Eisenstein considered conflict as essential, because he regarded it as an expression. The expression was present in the images realm related to dialectical principle for Marxism. Eisenstein further maintained that with simplicity in the meaning of the sentence comes the use of simple individual words. This in turn depicted meaning of cinematic nature as the consequence of shots related dialectical interplay. Pudovkin, meanwhile, on the other hand, holds the view that montage is a technique to build and add to each other which merely has a theoretical interest. Such a theory resulted in the production of real narrations with more deliberately calm pace. Such differences helped in bringing forward critical analysis and reflection on filming techniques.
