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«Грамматика киноязыка»

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Благие намерения.
Жестокий мир кино (Латернамагика).
(Эрнст Риффе). Лицо Бергмана?
Исповедальные беседы.
Картины.
Каждый фильм – мой последний.
Речь по случаю присуждения премии Эразма.
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[av_heading heading=’Жиль Делёз’ title_url=» tag=’h1′ style=’blockquote modern-quote’ size=» subheading_active=» subheading_size=’15’ padding=’10’ color=» custom_font=»][/av_heading]

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Кино

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Фотокомпозиция

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Цвет и контраст. Технология и творческий выбор
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Сочинение фильма
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Шесть актёров в поисках режиссёра
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Природа фильма. Реабилитация физической реальности
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Что-то вроде автобиографии
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Как делается кино
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Панорамирование как творческий прием оператора-документалиста.
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Кино, театр, бессознательное.
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Герменевтика Тарковского
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Лекции по кинорежиссуре.

Лекции: Сценарий.

Запечатленное время.

Мартиролог. Дневники.
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Хичкок/Трюффо
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Композиция кадра в кино и на телевидении
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Делать фильм

Я вспоминаю
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[av_heading heading=’Виктор Шкловский’ title_url=» tag=’h1′ style=’blockquote modern-quote’ size=» subheading_active=» subheading_size=’15’ padding=’10’ color=» custom_font=»][/av_heading]

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Эйзенштейн
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[av_heading tag=’h1′ padding=’10’ heading=’Сергей Эйзенштейн’ color=» style=’blockquote modern-quote’ custom_font=» size=» subheading_active=» subheading_size=’15’ custom_class=» title_url=»][/av_heading]

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Будущее звуковой фильмы.

Четвёртое измерение в кино.

Двенадцать апостолов.

Как я стал режиссёром.

Монтаж (1938).

Монтаж аттракционов.

Вертикальный монтаж.

Волки и овцы.
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[av_heading heading=’Михаил Ямпольский’ title_url=» tag=’h1′ style=’blockquote modern-quote’ size=» subheading_active=» subheading_size=’15’ padding=’10’ color=» custom_font=»][/av_heading]

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Из истории французской киномысли: Немое кино 1911-1933 гг.
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