Sculpting in Time: Reflections on the Cinema

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Ese apego a reproducir la realidad pero a través de la poética de la imagen que también rechaza la pirotecnia, el artificio, el símbolo y la interpretación unívoca propuesta por el director, busca un impresionismo cinematográfico en el que incluso el color resulta un problema, ya que para la época, el trabajo con el color en el cine aún no llegaba a un nivel técnico óptimo y seguía resaltando como una estética incontrolable por encima del fondo y la profundidad del sentido de la imagen. Por ello Tarkovski proponía el uso de colores apagados y neutros, e incluso, asegura que el blanco y negro es la representación de la realidad más fiel, pues anula la necesidad del escoger un color por encima de otro y de darle un sentido a la gama de colores que en la vida real no existe porque es fortuita. By using this service, you agree that you will only keep content for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services No other art can compare with cinema in the force, precision, and starkness with which it conveys awareness of facts and aesthetic structures existing and changing within time.”

What would you like me to say Bastian? OH, I'M SORRY, INEZ. I DIDN'T MEAN TO BITE YOU, MY FANGS SLIPPED.” 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. Andréi Tarkovsky fue un poeta, escritor, actor y director de cine ruso en tiempos de la Unión Soviética y se convirtió en uno de los influyentes más grandes de la historia del cine, con tan solo haber filmado siete largometrajes a lo largo de toda su vida. 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."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. The greatest director and very bad methodologist. He is the only one, there is no one like him and every one who tried to follow his method suffered different kinds of failure. I personally acquainted with people whose whole life collapsed under Tarkovsky's colossus. The scale of his talent and its main feature: ability to erect his own personal life experiences to the scale of something universal, attracts a lot of young filmmakers and they all end up destroying their own talent, just because of that - it is impossible to repeat what Tarkovsky did on screen. To make an impossible thing a life goal... just very unproductive, but he speaks so conclusively and lofty in this book, it even leaves you with feeling, that if you want to be a good director you just don't have another way then follow his method...

Para el cineasta, lo que define el montaje ya lo contiene cada escena rodada. El tiempo que transcurre en cada una de ellas determina el tiempo general de la estructura total de escenas en el montaje. Si ambos tiempos no coinciden, la película no funcionará. Esto lo ilustra con una película de Eisenstein, en la que éste quiso reproducir el propio tiempo dinámico de una batalla, pero lo hizo cortando escenas y editándolas una tras otra con velocidad. Según Tarkovski, ello es un fallo, ya que no dejó que cada escena contenga en sí misma el ritmo de la batalla y lo que hizo resultó artificioso y sin sentido. Para él, la escena debe rodarse ya con la intención del montaje y no buscarlo después, más bien, debe hallarse el espíritu de la escena. Modern mass culture, aimed at the 'consumer', the civilisation of prosthetics, is crippling people's souls, setting up barriers between man and the crucial questions of his existence, his consciousness of himself as a spiritual being.”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 December 1986. In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible. I felt all the time that for the film to be a success the texture of the scenery and the landscapes must fill me with definite memories and poetic associations”

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: This recording can move the listener beyond the world of piano and guitar. Pay close attention and hear what is taking place here with these musicians and you too will be moved. daniel a zongrone go to album 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: Kollar's numerous recording projects, both as a solo artist and as a collaborator, are milestones of contemporary European experimental music sphere and each of those discloses another facet of his complex and constantly developing musical identity and his artistic personality. I tend to approach the world at an emotional and contemplative level. I don't try to rationalize it. I perceive it as an animal or child can do - not as an adult who draws his own conclusions.” was a bare response of Andrei Tarkovsky when asked what was his attitude to the world. David Kollar's guitar is marked with AT initials along with the title of one of the most significant European movies - "Stalker".

We're sorry, but we had to cancel the production of the album for vinyl. The publisher failed to finance production for COVID 19 and its impact. 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.