Sculpting in Time, with Andrei Tarkovsky

Sfetcu, Nicolae Sculpting in Time, with Andrei Tarkovsky., 2019 [Preprint]

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English abstract

Tarkovsky opposed to the movie editing and considered that the basis of the art of cinematography (movie art) is the internal rhythm of images. He considers cinema as a representation of distinctive currents or time waves, transmitted in the film through its internal rhythm. Rhythm is at the heart of the "poetic film". A rhythm like a movement inside the frame ("sculpting in time"), not as a sequence of images in time. Time within the frame expresses something significant and true that goes beyond the events itself, received differently by each spectator. The rhythm is not determined by the length of the sequences, but by the pressure of time passing through them.

Item type: Preprint
Keywords: Sculpting in Time, Andrei Tarkovsky, Solaris, movie, film,cinematography, art
Subjects: C. Users, literacy and reading. > CZ. None of these, but in this section.
Depositing user: Nicolae Sfetcu
Date deposited: 05 Feb 2024 08:04
Last modified: 05 Feb 2024 08:04
URI: http://hdl.handle.net/10760/45523

References

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Salvestroni, Simonetta. 1987. “The Science-Fiction Films of Andrei Tarkovsky (Les Films de Science-Fiction d’AndreiTarkovsky).” Science Fiction Studies 14 (3).

Sfetcu, Nicolae. 2018. “Buclele Cauzale În Călătoria În Timp.” ResearchGate. 2018. https://www.researchgate.net/publication/324601633_Buclele_cauzale_in_calatoria_in_timp.

Totaro, Donato. 1992. “Time and the Film Aesthetics of Andrei Tarkovsky.” Revue Canadienne d’Études Cinématographiques / Canadian Journal of Film Studies 2 (1): 21–30. http://www.jstor.org/stable/24402079.

Turovskaia, Maya. 1989. Tarkovsky: Cinema as Poetry. Faber & Faber.


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