Abstract

The basic aim of his work is to elevate the motion as the constitutive substance of a film and anthropomorphisation of the categories of time, space and mo¬tion which are the essence of its physical and aesthetic existence.

Motion defines both time and space. Film is therefore treated as a four-dimensional space and time in which the basic structural and compositional factors -events, are understood in their basic aspect, as metamorphosis, clashes, appearing and disappearing, zooming in and zooming out, falling and rising, speeding up and slowing down…..

Such bringing the events to rudimentary and abstract shapes enables the integral approach to all layers of film which are naturally heterogeneous since these elements are abstract factors and the same in every layer.

In my opinion the essence of film expression lies in the easthetic and expressive form of motion of the whole sight - and - sound film material out of which an artistic act and experience is created - just as it happens in music and ballet.

The intention of this work isn't exclusively of scientific nature. I have tried to formulate the basis of the methods which may be useful in film practice.

The four basic notions of this discourse are: Time, Space, Motion and Rhythm.