Andrey Tarkovsky, the genius of modern Russian cinema—hailed by Ingmar Bergman as “the most important director of our time”—died an exile in Paris in. Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films. Sculpting in Time: Reflections on the Cinema () by Andrei Tarkovsky translated by Kitty Hunter-Blair (, University of Texas Press).

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Creative work is his only possible form of existence, and his every work is like a deed he has no power to annul. Works of art, unlike those of science, have no practical goals in any material sense.

If in science it is possible to substantiate the truth of one’s case and prove it logically to one’s opponents, in art it is impossible to convince anyone that you are right if the created images have left him cold, if they have failed to win him with a newly discovered truth about the world and about man, if in fact, face to face with the work, he was simply bored.

They seriously wanted to understand how and why cinema, and my work in particular, affected them as it did; they wanted answers to countless questions, in order to find some kind of common denominator for their random and disordered thoughts on cinema and on art in general. I have to confess that I would read with the greatest attention and interest — at some moments with distress, but at others with huge encouragement — the letters from people who had seen my films; during the years I was working in Russia these built up into an impressive and variegated collection of questions addressed to me or things which people were at a loss to understand.

But whenever the dramatic structure showed the slightest sign of something new — of treating the rationale of everyday life relatively freely — it was met with cries of protest and incomprehension.

Sculpting in Time – Wikipedia

Not a technical treatise but mor 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. Tarkovsky also worked extensively as a screenwriter, film editor, film theorist and theater director. Something incalculable, indeed, all the attributes of childhood, had gone irretrievably out of his life.


He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person’s experience — and not only enhances it but makes it longer, significantly longer. Its function is to startle us with the authenticity of the actions and the beauty and depths of the artistic images — not by obtrusive illustration of their meaning.

His optimism transmits a world of the past, a reflection of tranquil personal belief in beauty. And it’s only by good luck that we’re not blown up! Search the history of over billion web pages on the Internet.

Sculpting in Time: Reflections on the Cinema – Andrey Tarkovsky, Kitty Hunter-Blair – Google Books

For among the piles of written pages, and the actors, and the places chosen for location, and even the most brilliant dialogue, and the artist’s sketches, there stands only one person: Paperbackpages. In those moments we recognise and discover ourselves, the unfathomable depths of our own potential, and the furthest reaches of our emotions.

He discusses their history and his methods of work, he explores the many problems of anerei creativity, and he sets forth the deeply autobiographical content of part of his oeuvre—most fascinatingly in The Mirror and Scul;ting.

He solves them by painterly means, quite different from that quasi-literary treatment which gives the Sistine Madonna its sermonising, fictional tone.

Sculpting in Time : Reflections on the Cinema

The search for entertainment? In real life we can be struck by the way an episode takes on a ‘mise en scene’ which makes for the utmost expressiveness.

A member of the Institute of Physics of the Academy of Sciences ahdrei me a notice published in their wall newspaper: The present slips and vanishes like sand between the fingers, acquiring material weight only in its recollec- tion.

Time is one and undivided, as it says in one of the poems.

Science is empirical, whereas the conception of images is governed by the dynamic of revelation. Time is a state: University of Texas Press- Performing Arts – pages. Io cado in uno stato di rabbia e di disperazione quando sento domande del genere.

But more of that later. I’m thinking of the illusionism and extraordinary effects involved in dreams, memories and fantasies. One instance is the shot of Ivan walking through the columns of troops and army vehicles, when he is running away to join the partisans.

Book ratings by Goodreads. It opened up possibilities for recreating in a new way the true atmosphere of tarkkovsky, with its hyper-tense nervous concentration, invisible on the surface of events but making itself felt like a rumbling beneath the ground.


A group of soldiers is being shot for treason in front of the ranks. Modern mass culture, aimed at the ‘consumer’, the civilisation of prosthetics, is crippling people’s souls, setting up barriers between man and the crucial tarkovsy of his existence, his consciousness of himself as a spiritual being. It is no accident that they are coloured by poetry. The greatness and ambiguitv of art lies in not proving, not explaining and not answering questions even when it throws up warning inscriptions l ike.

Of course, my point of view is subjective — thank God! I sculptnig Something of a blog post: Given any effect, we constantly go back to its source, its causes — in other words, we could be said to be turning time back through conscience. What attracted me to Bogomolov’s’ short story, Ivan?

Of course each person uses the sum of knowledge accumulated by humanity, but all the same the experience of ethical, moral self-knowledge is the only aim in Hfe for each person, and, subjectively, it is experienced each time as something new.

Tagkovsky course literature and paintings can be referenced in film as Tarkovsky always didbut they must be contextualized in a poetic manner that can only be realized in cinema. I see chronicle as 64 the ultimate cinema; for me it is not a way of filming but a way of reconstructing, of recreating life.

One woman sent me on a letter written to her by her daughter, and the young girl’s words are a remarkable statement about artistic creation as an infinitely versatile and subtle form of communication: Follow on Facebook and Twitter.

For the first time in the history of the arts, in the history of culture, man found tarkovsku means to take an impression of time.

For him to be aware that a sequence of such deeds is due and right, that it lies in the very nature of things, he has to have faith in the idea, for only faith interlocks the system of images for which read: