it and its reading. Otherwise the reader will not ...

it and its reading. Otherwise the reader will not be able
to perceive the words of the book in the actual sequence, and
the product will remain unsolved" (P. 111). Here we face
deployed in the future development of semiotics arguments about the special nature of
the language of cinema, where the signs and grammar it needs to be at the same time, in
unlike natural language that is the language of literary device (see
numerous articles in the collection "the structure of the film." M., 1985).
P. Florensky also introduces the concept of "design", without which no
works of art. The story is for him only a superficial and external
the time of construction (P. 117). Him must first design,
the first plot. Distinguishing between the concepts of design and composition, he says:
"design is subject to not work, but reality, work
the imaging, compositions of the same subject to the work itself" (p. 121). In another
location: "Design is what he wants from the works of the
reality; and the composition -- what the artist wants from his
works" (p. 122). Now before us occur in parallel at the same
time in the formal literature the distinction between the story and the plot, which
built on the same grounds.