Sculpting in Time: Reflections on the Cinema

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was not only his proverbial brain child but as if it was his actual offspring. He treats his instrument as a gateway between his complex ideas and their audible representation, the same way a sculptor treats the chisel or a painter the brush."Late this evening I looked at the sky and saw the stars. I felt as if it was the first time I had ever looked at them. 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. Nor will be solving the dilemma of gene pool isolation. In the arks and zoos right now, a lot of rescued species are dying off even though the microecologies are right, simply because too few individuals were included in the original mix. For a healthy gene pool you need diversity, variety, heterozygosity.

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. To save this article to your Dropbox 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 Dropbox account. I am interested above all in the character who is capable of sacrificing himself and his way of life—regardless of whether that sacrifice is made in the name of spiritual values, or for the sake of someone else, or of his own salvation, or of all these things together. Such behaviour precludes, by its very nature, all of those selfish interests that make up a ‘normal’ rationale for action; it refutes the laws of a materialistic world view. It is often absurd and unpractical. And yet—or indeed for that very reason—the man who acts in that way brings about fundamental changes to people’s lives and to the course of history. The space he lives in becomes a rare, distinctive point of contrast to the empirical concepts of our experience, an area where reality is all the more strongly present. My objective is to create my own world and these images which we create mean nothing more than the images which they are. We have forgotten how to relate emotionally to art: we treat it like editors, searching in it for that which the artist has supposedly hidden. It is actually much simpler than that, otherwise art would have no meaning. You have to be a child—incidentally children understand my pictures very well, and I haven’t met a serious critic who could stand knee-high to those children. We think that art demands special knowledge; we demand some higher meaning from an author, but the work must act directly on our hearts or it has no meaning at all.” My encounter with another world and another culture and the beginnings of an attachment to them had set up an irritation, barely perceptible but incurable-rather like unrequited love, like a symptom of the hopelessness of trying to grasp what is boundless, or unite what cannot be joined; a reminder of how finite, how curtailed, our experience on earth must be”What is the essence of the director’s work? We could define it as sculpting in time. Just as a sculptor takes a lump of marble, and, inwardly conscious of the features of his finished piece, removes everything that is not part of it — so the film-maker, from a “lump of time” made up of an enormous, solid cluster of living facts, cuts off and discards whatever he does not need, leaving only what is to be an element of the finished film, what will prove to be integral to the cinematic image. The overall effect of these events was to be not only a parable about sacrifice, but also the story of how one individual is saved. And what I hope is that Alexander—like the hero of the film finally made in Sweden in 1985—is healed in a more significant sense; it is not only a question of being cured of a physical (and, moreover, fatal) disease; it is also a spiritual regeneration expressed in the image of a woman. In our relativistic post-modern world, his words are challenging and provocative. Towards the end of the book, he mentioned that he saw an undeniable link between civilisational decay and a preoccupation with materialism: Tarkovsky a través de sus obras, nos hace entender que está al tanto de la intangibilidad del ser humano, el potencial que tiene para experiencias emocionales profundas que no se puede comprender a través de la lógica o la razón, pero que se puede sentir íntimamente.

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.

If Sculpting in Time could be distilled to a single message, it would be this: Content and conscience must come before technique—for any artist in any art form." ( Los Angeles Times Book Review) Kollar treats his music with a deep degree of seriousness and personal involvement, as if each and every one of his projects Sculpting in Time (Russian "Запечатлённое время", literally "Captured Time") is a book by Russian filmmaker Andrei Tarkovsky about art and cinema in general, and his own films in particular. It was originally published in 1985 in German shortly before the author's death, and published in English in 1987, translated by Kitty Hunter-Blair. [1] The title refers to Tarkovsky's own name for his style of filmmaking. Sculpting in Time collects the theoretical writings of Russian filmmaker Andrey Tarkovsky. Tarkovsky expresses his views on the nature of art and cinema, and provides some insight as to his films. 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.

Tarkovsky decided to write this book in part to explain, or give insight, to his puzzled audience on the nature of his films. In the Introduction of his book, he cites many letters he received throughout the years, both of appraisal and discouragement. [2] The letters, regardless of their nature, seemed to agree on one thing: the people did not understand what was going on in the film. This book, as Tarkovsky explains, is a response to the questions of an audience that is willing to dialogue with him. [2] Tarkovsky has also cited film critic Olga Surkova as an inspiration for the creation of the book and that discussions with her greatly influenced the work's content. [2] Reception [ edit ] What kind of social engineering will that take? Do you know how to design a closed society that'd last so long without flying apart? Oh, I think it can be done. But don't pretend it'll be simple! We had no technical or other problems during shooting, until one moment almost at the end, when all our efforts seemed on the point of coming to nothing. Suddenly, in the scene where Alexander sets fire to his house—a single take lasting six and a half minutes—the camera broke down. We only discovered it when the entire building—our set—was already blazing, burning to the ground as we looked on. We couldn’t put the fire out, nor could we take a single shot: four expensive months of intense hard work for nothing. I felt the weight of Tarkovsky’s words as I immersed into listening of this new album. They were instantly present in a way David and his friends cleverly wrapped music sounds of Stalker and The Mirror together with some kind of dystrophic interpretation of Pasternak’s poem Night, to let us uncover what can really be felt underneath. Process enabled only by force of passion exclusive to the deepest human emotions. These are not meant to be contemplated or understood – rather it’s an invitation to spread your arms, open your heart and allow to be overtaken. Kollar treats his music with a deep degree of seriousness and personal involvement, as if each and every one of his projects was not only his proverbial brain child but as if it was his actual offspring. He treats his instrument as a gateway between his complex ideas and their audible representation, the same way a sculptor treats the chisel or a painter the brush."

I see it as my duty to stimulate reflection on what is essentially human and eternal in each individual soul, and which all too often a person will pass by, even though his fate lies in his hands. He is too busy chasing after phantoms and bowing down to idols. In the end, everything can be reduced to the one simple element which is all a person can count upon in his existence: the capacity to love. That element can grow within the soul to become the supreme factor which determines the meaning of a person's life. My function is to make whoever sees my films aware of his need to love and to give his love, and aware that beauty is summoning him.” 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.