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A citizen who does not support the stress of big city and erupts into violence. Alienation and the reduction of man to the production and consumption can explain the wave of urban violence? The film, influences the behavior of people, inducing them, for example, violent behavior? Research on the relationship between film / television and behavior in groups and discuss this matter. charm that entices the viewer to immerse yourself not only in the plot, the story, but an atmosphere, a time, a space, a landscape different from what they experience daily. This confusion feels on the screen, the real and the unreal, the fear and the certainty of distress and pleasure, shows that our technical and intellectual knowledge is not as crucial as you think. Do not just build theories and techniques and rational explanations to disprove the farce mounted in a movie. He, in the very act of his view, has the power to deceive, to provoke, to question and let the viewer disaffected. Aesthetics of attraction Admittedly, the film, before the market requirements in view of consumption, eventually produced works involving the great mass. And that large consumer population wants the film? Action, violence, shocking scenes, sweeping romance, tears, fright, horror, finally, scenes revealing life with all its power and drama. This spectacle or "cinema of attractions" as called Tom Gunning in his text The Cinema of the origins and the Spectator (in) Gullible, has developed on this game of illusion and reality, fear and suspense, the impact, causing a pleasure scopic , an excitement in the limit of terror. The cinema of attraction, concert and show keeps the viewer aware "... emphasizing the act of viewing. Satisfying that curiosity, it delivers a generally brief dose of scopic pleasure." Obviously, with these films explosives, aesthetic experience, seen from the point of view of traditional contemplation of the beautiful, is impaired. But not to say that art is over because of that. The art took new forms, and film, linking the various forms of expression (image, sound, word), also generates a new language. This new language which arouses the cinema was not restricted only to the screen, but also has had repercussions in other forms of artistic expression that expanded not only their technical preparation, but the diversity of views of reality. The man is a curious and always willing to novelty. This desire for novelty developed more from the growth of cities, the development of industry and the consumer market. Whenever you are wanting to buy something new, and the stronger, more impressive, different, weird, draws more attention, more eggs and arouses curiosity, so they sell more. Aberrations that we witness the impressive explosions, that strong love story, the detachment of the good guy, acts of courage and bravery of the hero, all this makes the audience experience a life in an imaginary dimension, of course, more dynamic than the sim-
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Građanin koji ne podržava stres velegrada i eruptira u nasilje. Otuđenje i smanjenje čovjeka u proizvodnji i potrošnji može objasniti val urbanog nasilja? Film, utječe na ponašanje ljudi, ih navoditi, primjerice, nasilnog ponašanja? Istraživanje o odnosu filma i televizije / ponašanje u skupinama i razgovarali o tome. šarm koji potiče gledatelja da uronite ne samo u zavjeri, priča, ali je atmosfera, vrijeme, prostor, krajolik razlikuje od onoga što svakodnevno iskustvo. Ova zbrka osjeća na zaslonu, stvarnog i nestvarnog, strah i sigurnost u nevolji i užitka, pokazuje da je naš tehnički i intelektualni znanje nije tako presudno kao što mislite. Ne samo graditi teorije i tehnike i racionalna objašnjenja pobiti farsu montiran u filmu. On je, u samom činu njegovu mišljenju, ima moć da zavede, da bi isprovocirali, na pitanje i neka gledatelja otuđene. Estetika atrakcije Doduše, filmu, prije tržišnim zahtjevima u pogledu potrošnje, na kraju proizveo djela koja uključuju veliku masu. I da je veliki potrošač želi stanovništva film? Akcija, nasilje, šokantni prizori, brišući romantika, suze, strah, užas, konačno, prizori koji otkrivaju život sa svim svojim moć i drame. Ovaj spektakl ili "film atrakcije", kako se zove Tom Gunning u svom tekstu kino od početaka i gledatelj (u) lakovjerna, razvila se na ovoj igri iluzije i stvarnosti, straha i neizvjesnosti, utjecaj, izaziva zadovoljstvo scopic , uzbuđenja u limit od užasa. Kino privlačnosti, koncert i pokazati drži gledatelja svjesni "... naglašavajući čin gledanja. Zadovoljavanje da znatiželja, to donosi uglavnom kratak dozu skopskim užitka." (Svetiti, 1995, str. 54) Očito, s tim filmovima eksploziva, estetsko iskustvo, što se vidi iz točke gledišta tradicionalne kontemplacije, lijepo je umanjena. No, da ne kažem da je umjetnost više zbog toga. Umjetnost je nove oblike, a filmski, povezujući razne oblike izražavanja (slika, zvuk, riječ), također stvara novi jezik. Ovaj novi jezik koji izaziva kino nije ograničena samo na ekranu, ali je također imala posljedice i za druge oblike umjetničkog izražavanja kako proširio ne samo njihovu tehničku pripremu, ali raznovrsnost pogledom na stvarnost. Čovjek je znatiželjan i uvijek spremni novost. Ta želja za novost razvio više od rasta gradova, razvoj industrije i potrošača na tržištu. Kad god se žele kupiti nešto novo, i jači, još impresivnije, drugačije, čudno, privlači više pozornosti, više jaja i budi znatiželju, pa su prodati više. Odstupanja su se da ćemo svjedočiti impresivan eksplozije, da je jak ljubavna priča odreda dobar momak, djeluje hrabrosti i junaštvu junaka, sve to čini publiku iskustva život u imaginarni dimenziji, naravno, dinamičniji od sim-