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Sculpting in Time: Reflections on the Cinema

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Once seen and recorded, time could now be preserved in metal boxes over a long period (theoretically for ever).” (Photo: Pexels) Andrei Arsenyevich Tarkovsky (Russian: Андрей Арсеньевич Тарковский) was a Soviet film director, writer and opera director. Tarkovksy is listed among the 100 most critically acclaimed filmmakers. He attained critical acclaim for directing such films as Andrei Rublev, Solaris and Stalker.

Maria is the antithesis of Adelaide: modest, timid, perpetually uncertain of herself. At the beginning of the film anything like friendship between her and the master of the house would be unthinkable—the differences that separate them are too great. But one night they come together, and that night is the turning-point in Alexander’s life. In the face of imminent catastrophe he perceives the love of this simple woman as a gift from God, as a justification for his entire life. The miracle that overtakes Alexander transfigures him. Andrei Tarkovsky has much in common with Dostoevsky in the sense that his movies move at a deliberate, slow pace with drawn out panning movements and long takes. They need extra effort from the viewer to appreciate them. His movies are much concerned with the "inner life" and the psychological truths of his characters. You can also become a spontaneous supporter with a one-time donation in any amount: GIVE NOW BITCOIN DONATION

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Cinema, as its core, is the capture of reality over time. At its heart is careful observation of reality. The artist brings his own unique reality and worldview to a film, creating a prism through which objective reality is filtered. The artist must depend on his own experience, feelings, and thoughts in crafting a cinematic work. Cabe destacar que este poeta en el cine, fue llevado al exilio por su renuncia a acatar dogmas culturales y las limitaciones ideológicas de su país en ese entonces, por lo que se dedicó en esos lentos años de angustia a escribir su libro "Esculpir en el tiempo" donde explica detalladamente sus ideas acerca de, no solo creo yo, del séptimo arte, sino de sus inquietudes respecto a la vida misma. Time, printed in its factual forms and manifestations: such is the supreme idea of cinema as an art, leading us to think about the wealth of untapped resources in film, about its colossal future. We all know the tradicional genre of ancient Japanese poetry, the haikku. [Sergei] Eisensteinquoted some examples:

Art, in a broad sense, is spirituality. It seeks to awaken the spirituality of the spectator, to uplift them, to make them feel more alive. The modern world, with its material comforts and technology, is in desperate need of the spiritual awakening promised by great art. La experiencia del espectador para Tarkovski lo era todo, o casi todo. Y en este libro lo explica. Él no quería imbuir de sentido fijo a sus películas, creía que eso era una especie de trampa, el crear sentidos basados en la configuración del símbolo (a través de la yuxtaposición de imágenes), sino más bien apelaba a la imagen en limpio, para que sea el espectador quien la dotase de sentido. Es por ello que le huía al manierismo del cine y su estructura clásica, y de aquello que él mismo aprendió en la escuela de cine soviética, yéndose incluso en contra de las enseñanzas del propio Eisenstein, famoso cineasta soviético creador de la teoría del montaje (justamente la búsqueda del símbolo). Tarkovski, por el contrario, explica en este libro que en su cine no hay un solo símbolo, sino que más bien sus películas están más cercanas al acto poético, a la fuerza de la imagen per se, y a el cómo esa imagen se trabaja en un tiempo específico, el tiempo interno de la escena. Eso para Tarkovski es el ritmo, y lo que define al cine y lo diferencia del resto de las artes: el tiempo. El cine es un arte del tiempo. When less than everything has been said about a subject, you can still think on further. The alternative is for the audience to be presented with a final deduction (...) no effort on their part.What moved me was the theme of the harmony which is born only of sacrifice, the twofold experience of love. It's not a question of mutual love: what nobody seems to understand is that love can only be one-sided, that no other love exists, that in any other form it is not love. If it involves less than total giving, it is not love. It is impotent; for the moment, it is nothing.” The metaphor of the film is consistent with the action, and needs no elucidation. I knew that the film would be open to a number of interpretations, but I deliberately avoided pointing to specific conclusions because I considered that those were for the audience to reach independently. Indeed, it was my intention to invite different responses. I naturally have my own views on the film but I think that the person who sees it will be able to interpret the events it portrays and make up his own mind both about the various threads that run through it, and about its contradictions. To save this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Google Drive account.

That was cinema, what about “art” in general? Tarkovsky considered art to be a yearning for the ideal. He wrote:

Toate filmele mele au vorbit într-un fel sau altul despre faptul că oamenii nu sunt singuri, aruncați într-un univers părăsit, că ei sunt legaţi de trecut şi de viitor prin nenumărate fire, că fiecare om, prin soarta lui, realizează legătura cu soarta universală a omenirii. Dar această speranță la rolul inteligent al fiecărei vieți în parte şi al fiecărei acțiuni omeneşti măreşte la nesfârşit responsabilitatea individului față de evoluția generală a vieții. The book has commentary on each of his 7 major feature films, and his complex relationship with the Soviet Union. The final chapter, a discussion of his film The Sacrifice, was dictated in the last weeks of his life.

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