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 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 , 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. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre—most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.
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Sculpting in Time by Andrei Tarkovsky ,. Kitty Hunter-Blair Translator. An alternate cover edition can be found here. 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 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 , 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.
He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.
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Start your review of Sculpting in Time. Sep 21, Pavel rated it really liked it Shelves: books-that-defined-my-art , cinema. 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 o The greatest director and very bad methodologist. 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 And the main idea is that cinema mainly works with time, not action or characters, that it records it in a way, which no other art can come near. If it is true or false I have no idea although I would say that theatre is operating with time way more - you observe a continuous show, living its three hours with its characters, when cinema always skips and shuffles and shortens time , but It worked for Tarkovsky demonstratively.
View 1 comment. My own considerations and world views have been upturned. That is how Tarkovsky is defined; his poetry is jaw-droppingly affective through any language. Science and technology are stifling our humanity and closing us off from one another, somehow paradoxically. Consider the interconnectivity of the Internet and its possibilities contrasted with its current predominant uses. They function to enhance life by the sheer extension of it. Tarkovsky, instead, urges a return to spiritual, artistic pursuits in opposition to this emerging, seething, immoral reality.
Initially, it seemed regressive to me, but it is in fact a promotion of total emotional availability. His optimism transmits a world of the past, a reflection of tranquil personal belief in beauty.
As a gamer, I recognize the air of speciousness, but the games I play do engage me artistically and philosophically. After the most difficult period of my life in the last twenty-six years, I recognize that I once considered our formal higher education system to be righteous. This is because, as a culture, we do not properly prepare people spiritually, morally, and emotionally in these institutions. The development of these concepts is ordered and confined to the home, church, synagogue, place of worship.
The family unit is in disarray. Organized religion merely tells stories, promotes sexism, and transforms personal responsibility into conformism. Focus on strict memorization of information gives birth to false sense of superiority and undeniable mockery.
Regurgitating information without personal interpretation is inhumane. From post-modernism and post-irony, scholars have this gravitational pull to supreme condescension for any and all things through relentless sarcasm and Internet memes.
These are people too lazy to comprehend or recognize their own emotional boundaries and the range of human emotion, so they attempt to distance or elevate themselves from their own reality creating viral, self-generating elitist drivel.
Philip K. All of these foci are purely earthly, telluric, and profane; they fail at satire and make no serious attempt to propose self-reflection or more enlightened analyses. Over the past six months, I personally drew these associations and tried to express them verbally or textually in journals, sometimes on the verge of self-destruction.
While I may have failed in this review, at least I have made an effort to connect to my own humaneness. When you realize utter rationality severs emotional possibilities, you might stop to think about your behavior.
By its nature, creation of art is a therapy, a way to pursue ideals that inevitably clash with rampant, suppressive conformism in society. You exist for yourself only, to snicker at your own perceived ingenuity. Modern art is more aligned with earthly trivialities when it should be seeking transcendence. The intelligent, artistically attuned people not phony misguided artists , regardless of formal education or what have you, have a fundamental need to assimilate themselves into the spectrum.
Anyone can appreciate art if they are provided with resonant images — they will form the necessary relationships and want to talk about their emotional responses. Instead, there is a growing movement of simplistic perversion as a means of meaningful subversion like the difference between David Cronenberg and Eli Roth, for example. These entertainers are shock artists and want us to pay attention to them.
They have nothing to say about human experience, only human reflex. A temporary jolt is not the same as a core disturbance. It requires no emotional consideration and can be dismissed until the next perverse thing comes along.
This essentially recalls the previous discussion of science and technology. Spiritual wellbeing is the wellbeing of all — a consciousness that considers others over material possessions and competitive pop cultural pasquinade. The latter is hopeless. I need to share my enthusiasm for communal aspects of art regardless of whether people respond or not, and this is a manner of rediscovering humanity instead of harboring malice.
I recognize that people are too easy on themselves, but I should focus on the issue that lay beyond that. Who out there still loves to dig through a random bin of albums at their local record store?
Cinema is visual motion, so therefore it should command those themes instead of falling back upon preexisting painterly or literary qualities.
Of course literature and paintings can be referenced in film as Tarkovsky always did , but they must be contextualized in a poetic manner that can only be realized in cinema. Otherwise, we should be seeking the essence of that physically manifested art. Cinema needs to set its own standards and be judged by its ability to authentically create a universe.
After reading Sculpting in Time, I just feel like I have endless pages of memoirs to fill myself. To fail at that is better than to succeed or realize something impure, wholly rational, devoid of emotion, mechanical. Humanity is not a collection of people; it's a quality.
It is asking yourself how and why you did or did not respond to something. For a moment during the closing pages, I possessed the eventual goal of donating most everything I own, grabbing a couple interested people, and moving to the middle of nowhere in Northern Washington to be surrounded by a limitless beauty. The modern world is stifling our creativity, our patience, our values, and Tarkovsky knew it.
But the destination is the same. View all 3 comments.
Sculpting in Time
Tarkovsky: Sculpting in Time
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Sculpting in Time : Reflections on the Cinema
Sculpting in Time. To what extent can time itself be defined as a sculptural and cinematic dimension, and how far can film be seen as an artistic manifestation of time? Time is a concept pondered by philosophers and artists, poets and scientists alike. The present is on the threshold between past and future, already past at each moment of existence. Time can be conceived of as a shifting yet continuous form made up of different modes of temporality, many of which are dealt with in some way by Tarkovsky.