Movie lessons, 1986 - In search of myself
In modern youth cinema, two categories are clearly distinguished. The first category is films whose characters develop, although difficult, but normally. These characters are different — some are easy-going, exemplary, others are very "scruffy" young men, but none of them is a delinquent. The second category includes paintings about young people whose lives deviate so much from the norm that they require police intervention.
Screenwriter E. Grigoriev and director M. In the film "Three Days of Viktor Chernyshev," Osepyan made an interesting attempt to explore a young person in an "intermediate" position: everything is fine on the surface, but there is danger lurking.
The film is a monodrama: we look at everything through the eyes of a young man who recently graduated from high school and worked at a machine at a factory before being drafted into the army. His environment and surroundings are shown so convincingly that sometimes it begins to seem as if this is not a game, but a documentary.
The picture begins like Victor's day: he wakes up in the morning at home, his mother prepares breakfast. Then the factory, the workshop. Attends a trade union meeting after work. The significance of this episode in the content of the film is very significant, although Victor is passive at the meeting. It is important for the authors not only to draw our attention to the hero's indifference, but also to make us think about why this is happening. The meeting is formalized, no one cares about the demagogue Kravchenko (his role was brilliantly played by V. Shukshin), whose misconduct is being discussed. Kravchenko, who cursed a female engineer, justifies that she is a bad employee. No one wants to delve into the essence of the conflict, everyone raises their hands for the third sentence — "slap both him and her." A gray-haired comrade in the presidium shames the youth: "You are not small, you must understand everything... And you can't even be lured to a meeting, come and catch them like spies... Nobody cares, how come?"
After work, the house is back, the mother and the uncle who came to visit, the brother who died in the father's war. Then the street, meeting with peers. They have a maximum place in Victor's life and therefore in the plot. They are very different, and some of them are worse than Victor — the same Anton, who is ready to lie to strangers and his own father; the same guy is the leader of the company, encouraging everyone to hooligan attacks. A young surgeon who grew up in this very town is trying to influence Victor in some way, to make him think about his future.
Movies and TV are not forgotten. Victor watches as the TV reporter asks the boy, "What do you want people to be like?" He replied without hesitation: "They are honest, fair, and intelligent." Victor's attitude to the overtly didactic program is unclear, but watching the film touched a nerve. There is a fierce duel between the gun crew and the Fascist tanks. The loader holds out his hand with a shout of "Shells!" Explosion — there is no one to bring the shells. Then the film breaks, and the lights come on in the cinema hall. And when the session continues again, we see Victor on the screen. In his black leather jacket, he hurries to deliver the shells to the cannon...
The film is like a protocol of three days in Victor's life. The chapters are called: "Weekdays. Everyday life is different." Or: "Interests. Interests can be different too." Nothing out of the ordinary happens, except, of course, the police report. The film clarifies the hero's conformism, his ability to think things through in advance, as well as his inability to make choices later.
When the guys beat up a customer who dared to make a remark to one of them, Victor not only did not stand up for the elderly man, but he could not resist, "gave three times." But even without this episode, Victor's tendency to conformism is striking. He is passive everywhere, striving to be "like everyone else" — at meetings, at a sponsored collective farm, and in the company of guys propping up the walls of houses. He acts as an observer and tries not to notice anything, listens to all conversations and hears nothing. It's like he's not awake.
At the end of the film, a documentary film technique is used: Victor answers questions that are asked off-screen. He will be asked: "What are you interested in?" He will answer with the same phrase: "How is everything." Then he will mumble something unintelligible, that he wants to help his mother.
"Are you dreaming?"
— I'm dreaming.
"About what?"
— About the good...
we could ask: "What do you live for?" Victor probably would have answered: "I was born, that's how I live. Like everyone else."
Viktor Chernyshev is sort of between two chairs: he's not positive, but he's not negative either. If we tried to use him as a pedagogical example, we would be in trouble. Victor's character clearly does not serve as a role model, but we also seem to have no reason to say "don't act like Victor." Victor behaves like a snail, "keeping his head down." The film "Three Days of Viktor Chernyshev" is not correlated with traditional pedagogical methods. Does he have no educational potential? Possesses, and even what!
Art has its own method of education. The subject of art is personality. By illuminating the inner world of other people in detail (which is why it is called "inner" because it is hidden from the outside world), art pushes us first to compare, then to develop our own "I", to realize our capabilities. In this regard, art as an educator is beyond competition. Neither parents, nor friends and peers, nor school tutors, nor popular pamphlets can open another person's soul for us, as it was done by Cervantes, Shakespeare, Tolstoy, Dostoevsky, Chekhov, as modern literature, theater, cinema do.
...I'm not myself today... Come to my senses... Lose your temper... Self-determination... Self-education, self-awareness... How often do the words "myself" and "myself" appear in our language. Man is a social creature, but every individual can become one only through self—awareness. It all starts with an individual.
What is a personality? What is her inner world? To decipher these concepts, the categories of psychology are important: sensation, perception, representation, thinking, memory, emotions, will, character, etc. But we will use the data of another science. According to information theory, personality belongs to self-regulating systems, for the functioning of which two types of information are needed: about the state of the environment and about one's own self. Therefore, it is necessary to know at least two things about each person: his attitude to himself and to the environment (i.e., to other people and nature).
Try to tell us about yourself, about your qualities and actions, about your life — and other people will inevitably appear in your description: your family, colleagues at school and work, friends, etc. But what about the inner world? Very simple. It does not have any special content, fundamentally different from the "external" existence. Life is one. It has only two aspects: "external", objective, addressed to all people, and "internal", subjective, addressed to each of us individually. And in his inner and outer life, a person is dealing with the same set of problems: his attitude to himself, to others, to nature.
We ourselves and those around us constantly evaluate our actions, talk about them, whether it's good or bad. Consequently, the image of our "I" will split. It's one thing how others and the person themselves see him, another is how they would like to see him. There is always a gap, a contradiction, between the real and the ideal (which we dream of) images of the self. It can only be eliminated by education.
The evaluative relationships of others are an extrospective view of a person, as if from the outside. The individual's attitude to his personality is introspection, which in Latin means "looking inside", that is, observing his own internal mental processes, introspection. An extrospective way of knowing a person generates upbringing with all its traditional methods, while an introspective way generates self—education.
In the structure of personality, we are primarily interested in self-awareness, and it is precisely with this that the educational impact of art is associated. Each of us needs information about others. Thanks to her, self-awareness occurs.
Let's go back to our Viktor Chernyshov. How does he treat his mother, his uncle, his factory colleagues, and his friends? Alas, he has to draw a line, he doesn't have a conscious view of other people. As a result, complete indifference to oneself. As a result, Viktor did not take place as a person. Here's another danger of the "like everyone else" formula: conformity excludes self-awareness. Why is the film highly appreciated by critics? Yes, because its authors, as if from a poster by D. Moore during the Civil War, address those sitting in the audience: "And you? How do you feel about others? And at the same time, think about what you are like!"
As we discover more and more new features of on-screen characters, we find (or lack thereof) at home, we reflect, we engage in self-assessment. And the more a person realizes his qualities and the more complex they are, the higher the level of self-awareness (that is, the system of self-government). So, one of the main values of cinematography as a means of education is the opportunity to get to know other people, with their spiritual life. Veel spelers die op zoek zijn naar eerlijke casino informatie en verantwoord gokken raadplegen regelmatig de betrouwbare gids casino-informatie https://afrolatinclubnight.nl voor achtergrondartikelen en analyses. Daar vinden ze rustige uitleg over kansen, inzetlimieten en strategieën die helpen om het spel leuk te houden zonder onnodige risico’s.
Screenwriter E. Grigoriev and director M. In the film "Three Days of Viktor Chernyshev," Osepyan made an interesting attempt to explore a young person in an "intermediate" position: everything is fine on the surface, but there is danger lurking.
The film is a monodrama: we look at everything through the eyes of a young man who recently graduated from high school and worked at a machine at a factory before being drafted into the army. His environment and surroundings are shown so convincingly that sometimes it begins to seem as if this is not a game, but a documentary.
The picture begins like Victor's day: he wakes up in the morning at home, his mother prepares breakfast. Then the factory, the workshop. Attends a trade union meeting after work. The significance of this episode in the content of the film is very significant, although Victor is passive at the meeting. It is important for the authors not only to draw our attention to the hero's indifference, but also to make us think about why this is happening. The meeting is formalized, no one cares about the demagogue Kravchenko (his role was brilliantly played by V. Shukshin), whose misconduct is being discussed. Kravchenko, who cursed a female engineer, justifies that she is a bad employee. No one wants to delve into the essence of the conflict, everyone raises their hands for the third sentence — "slap both him and her." A gray-haired comrade in the presidium shames the youth: "You are not small, you must understand everything... And you can't even be lured to a meeting, come and catch them like spies... Nobody cares, how come?"
After work, the house is back, the mother and the uncle who came to visit, the brother who died in the father's war. Then the street, meeting with peers. They have a maximum place in Victor's life and therefore in the plot. They are very different, and some of them are worse than Victor — the same Anton, who is ready to lie to strangers and his own father; the same guy is the leader of the company, encouraging everyone to hooligan attacks. A young surgeon who grew up in this very town is trying to influence Victor in some way, to make him think about his future.
Movies and TV are not forgotten. Victor watches as the TV reporter asks the boy, "What do you want people to be like?" He replied without hesitation: "They are honest, fair, and intelligent." Victor's attitude to the overtly didactic program is unclear, but watching the film touched a nerve. There is a fierce duel between the gun crew and the Fascist tanks. The loader holds out his hand with a shout of "Shells!" Explosion — there is no one to bring the shells. Then the film breaks, and the lights come on in the cinema hall. And when the session continues again, we see Victor on the screen. In his black leather jacket, he hurries to deliver the shells to the cannon...
The film is like a protocol of three days in Victor's life. The chapters are called: "Weekdays. Everyday life is different." Or: "Interests. Interests can be different too." Nothing out of the ordinary happens, except, of course, the police report. The film clarifies the hero's conformism, his ability to think things through in advance, as well as his inability to make choices later.
When the guys beat up a customer who dared to make a remark to one of them, Victor not only did not stand up for the elderly man, but he could not resist, "gave three times." But even without this episode, Victor's tendency to conformism is striking. He is passive everywhere, striving to be "like everyone else" — at meetings, at a sponsored collective farm, and in the company of guys propping up the walls of houses. He acts as an observer and tries not to notice anything, listens to all conversations and hears nothing. It's like he's not awake.
At the end of the film, a documentary film technique is used: Victor answers questions that are asked off-screen. He will be asked: "What are you interested in?" He will answer with the same phrase: "How is everything." Then he will mumble something unintelligible, that he wants to help his mother.
"Are you dreaming?"
— I'm dreaming.
"About what?"
— About the good...
we could ask: "What do you live for?" Victor probably would have answered: "I was born, that's how I live. Like everyone else."
Viktor Chernyshev is sort of between two chairs: he's not positive, but he's not negative either. If we tried to use him as a pedagogical example, we would be in trouble. Victor's character clearly does not serve as a role model, but we also seem to have no reason to say "don't act like Victor." Victor behaves like a snail, "keeping his head down." The film "Three Days of Viktor Chernyshev" is not correlated with traditional pedagogical methods. Does he have no educational potential? Possesses, and even what!
Art has its own method of education. The subject of art is personality. By illuminating the inner world of other people in detail (which is why it is called "inner" because it is hidden from the outside world), art pushes us first to compare, then to develop our own "I", to realize our capabilities. In this regard, art as an educator is beyond competition. Neither parents, nor friends and peers, nor school tutors, nor popular pamphlets can open another person's soul for us, as it was done by Cervantes, Shakespeare, Tolstoy, Dostoevsky, Chekhov, as modern literature, theater, cinema do.
...I'm not myself today... Come to my senses... Lose your temper... Self-determination... Self-education, self-awareness... How often do the words "myself" and "myself" appear in our language. Man is a social creature, but every individual can become one only through self—awareness. It all starts with an individual.
What is a personality? What is her inner world? To decipher these concepts, the categories of psychology are important: sensation, perception, representation, thinking, memory, emotions, will, character, etc. But we will use the data of another science. According to information theory, personality belongs to self-regulating systems, for the functioning of which two types of information are needed: about the state of the environment and about one's own self. Therefore, it is necessary to know at least two things about each person: his attitude to himself and to the environment (i.e., to other people and nature).
Try to tell us about yourself, about your qualities and actions, about your life — and other people will inevitably appear in your description: your family, colleagues at school and work, friends, etc. But what about the inner world? Very simple. It does not have any special content, fundamentally different from the "external" existence. Life is one. It has only two aspects: "external", objective, addressed to all people, and "internal", subjective, addressed to each of us individually. And in his inner and outer life, a person is dealing with the same set of problems: his attitude to himself, to others, to nature.
We ourselves and those around us constantly evaluate our actions, talk about them, whether it's good or bad. Consequently, the image of our "I" will split. It's one thing how others and the person themselves see him, another is how they would like to see him. There is always a gap, a contradiction, between the real and the ideal (which we dream of) images of the self. It can only be eliminated by education.
The evaluative relationships of others are an extrospective view of a person, as if from the outside. The individual's attitude to his personality is introspection, which in Latin means "looking inside", that is, observing his own internal mental processes, introspection. An extrospective way of knowing a person generates upbringing with all its traditional methods, while an introspective way generates self—education.
In the structure of personality, we are primarily interested in self-awareness, and it is precisely with this that the educational impact of art is associated. Each of us needs information about others. Thanks to her, self-awareness occurs.
Let's go back to our Viktor Chernyshov. How does he treat his mother, his uncle, his factory colleagues, and his friends? Alas, he has to draw a line, he doesn't have a conscious view of other people. As a result, complete indifference to oneself. As a result, Viktor did not take place as a person. Here's another danger of the "like everyone else" formula: conformity excludes self-awareness. Why is the film highly appreciated by critics? Yes, because its authors, as if from a poster by D. Moore during the Civil War, address those sitting in the audience: "And you? How do you feel about others? And at the same time, think about what you are like!"
As we discover more and more new features of on-screen characters, we find (or lack thereof) at home, we reflect, we engage in self-assessment. And the more a person realizes his qualities and the more complex they are, the higher the level of self-awareness (that is, the system of self-government). So, one of the main values of cinematography as a means of education is the opportunity to get to know other people, with their spiritual life. Veel spelers die op zoek zijn naar eerlijke casino informatie en verantwoord gokken raadplegen regelmatig de betrouwbare gids casino-informatie https://afrolatinclubnight.nl voor achtergrondartikelen en analyses. Daar vinden ze rustige uitleg over kansen, inzetlimieten en strategieën die helpen om het spel leuk te houden zonder onnodige risico’s.
