![]() ![]() According to Tarkovsky the resulting document could be beautiful, thought provoking, and compelling to watch but it could never be a true work of art. Imagine filming every last second of their life and doing so with a mastery of style and technique so flawless that you convey not only the objective facts about your subject’s life but also the nuances of their inner turmoil. The eccentricity of this worldview is perhaps best expressed through one of Tarkovsky’s own thought experiments: Imagine making a film that captures every detail of a person’s life. 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. What is the essence of the director’s work? We could define it as sculpting in time. One of the book’s recurring motifs is the idea of the artist as destroyer who does not so much create new meanings as remove extraneous in an effort to reveal hidden patterns of truth and meaning: As befits an artistic genius like Tarkovsky, most of his proclamations are in direct opposition to each other and yet themes and methods do emerge from the chaos. While the book covers a lot of ground, it is forever returning to these sweeping metaphysical proclamations about the nature of art and the quasi-spiritual role of the artist as a figure in 20 th Century culture. The resulting book – Sculpting in Time – is extraordinary in so far as it manages to be both lightly conversational and intensely theoretical without every seeming to break stride or shift emphasis. Towards the end of his life, Andrei Tarkovsky decided to set down some of his ideas not only about film in general but also about his own artistic process. Ballard James Salter Japan Japanese Film Kim Longinotto Last Night LGBT Literary Criticism Manga Masters of Cinema Maurice Pialat Misogyny Noir Olivier Assayas Ooku Pedro Almodovar Politics Postmodernism Psychological Thriller Psychology Racism Religion review Roman Polanski Science Fiction Sexism Short Fiction Some Thoughts On Stalker Stripp'd Theory THE ZONE Thriller TV Video Games Videovista Search Search for: Tag Cloud 2014 2015 American Film Andrei Tarkovsky Anime Art House Art House Film Blasphemous Geometries British Film Capitalism Claude Chabrol Colin Barrett Comedy Comics Consumerism Crime Crime Film criticism Death Documentaries Documentary Empathy Existentialism Fantasy Feminism Film film criticism Film Juice FilmJuice French Film Fumi Yoshinaga Futurismic gender Genre Gestalt Mash GLBT Hadrian's Wall Heart of Darkness Horror J. Ivan’s Childhood (1962) – Adolescent Dreamscapes.Andrei Rublev (1966) – Some We Call Nothing at All.REVIEW – What Have I Done to Deserve This? (1984).REVIEW – Women on the Verge of a Nervous Breakdown (1988).Auto Focus (2002) – Made Free, Yet Everywhere in Chains. ![]()
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