Summary

In the introduction I have described the rational and irrational elements which constitute a work of art. I have also presented my credo about the abstract essen¬ce of film as a vital aspect of its artistic existence.

Remaining on the platform of basic issues I have shown the most important philosophical temporal models from the angle of which one can observe the pro¬blems of time in film as treated in this work. Additionally I have elaborated cho¬sen problems of time in art (literature, music and film), as well as some aspects of general character: static aspect of time, its natural zones, consistency and lo¬garithmic character.

Further on I have treated questions of film space, from the general ones, like anthropometry of space, introducing time elements to space, symmetry of time and space, transcendency of space, to very concrete, like exposing elements which form the depth and space of a film.

The next chapter brings an elaboration about motion as a phenomenon which distinguishes and integrates time and space and stands for a basic structural and composition factor of a film chronotopy. Motion in this chapter is defined by the fundamental elements and notions which have their logical continuation in the following chapters, especially in the one about rhythm where motion is treated in the function of esthetics and expression.

The next step was to approach the questions of time and space from the hu¬man angle. I have defined the anthropometric modulus of a film (0,75 sec), as a basic metric unit - the time modulus of a human quality. Born from the characte¬ristics of a human motion, it allows us to exactly define and control the kinetic process: the tempo and the film rhythm.

This is also the place to discuss the human aspect of film space through the definition of a human meter - the basic space modulus of a human quality (0,87,5 cm) and anthropometric scale of film shots made of 12 moduses exactly organi¬zed by a logarithmic sequence of size (proportion 1:2), starting from macro shot up to long shot. The starting measure of a tempered sequence of film shots is the height of a human head, dimension 22 cm. On the basis of a precise definition of a metric unit it was possible to precisely define the film tempo and its aspects -internal and external tempo, as well as some other kinetic phenomena of a temporal provenance (eg. agogics)

The last chapter is devoted to rhythm in general and especially to film rhythm which stands for integrational factor and communicational platform between various layers of a complex artistic phenomenon called film. Beside the general aspects the elementary factors and structures of a film rhythm are defined through its energetic cells and categories of rhythmic motion. Apart from that rhythm is the essence of expression of a film medium since it represents the physical expression of internal impulses of a human being, the direct reflection of our emo¬tional and spiritual life.

I have also elaborated the film notation - the means for film motion registe¬ring, and in the end I have presented the concrete kinesthetic intentions and operations on the example of the final scene of my film ,,Mouth Full Of Earth".

The main thought present in this work is that being conscious about the specifics of a kinetic structure makes the basis for taking control over the form perfection. This enables the film material to reflect the human expression and understanding of the world in the unique way - unrepeatable, beautiful, convincing.