... "Tarkovsky believed the film image not to be a composite of different shots arranged in a structure within a specific sequence progressing in time."
*** A Deleuzian Analysis of Tarkovsky’s Theory of Time-Pressure, Part 1: Tarkovsky’s theory of time-pressure as ‘cine-physics’ [bottom]
[ ... ] tarkovsky.ru and RAT 2 (Russian American Theatre Failes : Century 21)
...
"Miracle of Tarkovsky"? Historically, artistically? "Tarkovsky's Phenomena"? "He is a genius,' said Sereyozha K. -- it was so obvious even in the sixties. To him and whose who understand KINO. I didn't see it. Vijda, yes, "Ashes and Diamond" -- that was something which change me, my schoolboy's Soviet heart. Maybe because he was Russian -- maybe because I was Russian -- although, "My Name is Ivan" was enough to tell who Tarkovsky was.
Miracle that he made his films in USSR.
Who else should I call it?
Miracle that there was still Russia in the world of the Soviets.
Miracles.
Hopelessness (today) is the result of the Hope that ruled the sixties. Not just in Moscow, but there it was so needed. More than in Paris?
Oct. 2006 page -- "...now I have no strength left for anything - that is the problem."
The last words entered by Andrey Tarkovsky in his diary, two weeks before his death from cancer in Paris in December 1986
[wikipedia] "Tarkovsky's films are characterised by Christian and metaphysical themes, extremely long takes, and memorable images of exceptional beauty. Recurring motifs in his films are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera.
Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. (The speedy jump-cutting style that is prevalent in music videos and many Hollywood movies today (2007), by contrast, overrides any sense of time by imposing the editor's viewpoint.) By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.
Up to and including his film Mirror, Tarkovsky focused his cinematic works on exploring this theory. After Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day. Stalker is, by his own account, the only film that truly reflects this ambition;[citation needed] it is also considered by many to be a near-perfect reflection of the sculpting in time theory."
...
I don't know if I will teach film classes again -- this and other Russia-related pages are to serve as references to my nonfiction projects: Father-Russia, Century of Antohins, Winter Fool, KINO..
When I defected in 1980, I didn't know that Tarkovsky will be forced to do the same a few years later. I didn't because I thought about his fate and my fate in USSR. I wanted to have my chance. I came too later, "they" already knew what trouble can come from this place -- VGIK.
Now I have to write about what went wrong. With me, of course.
... Will I write it? Before I knew it, "before" was many moons back.
[left] LE SACRIFICE (1 min.)
The Sacrifice, 1986
Shot by Sven Nykvist, Bergman's cinematographer, Tarkovsky's last film is perhaps his most beautiful. Filmed while Tarkovsky was already in the throes of cancer (yet before the final diagnosis), Sacrifice appears as a last will and testament. It is the story of Alexander, his loving relationship with his son, and the strain he feels with the rest of his family in Sweden. A nuclear war has been announced, and Alexander prays that if God would make everything as it was before, he would give up his family and possessions and never utter another word. The audience is never certain if the events that transpire are real or a dream, but Alexander fulfills his vow in a remarkable closing sequence.
Length: 149 mins. Color, with long segments of near-black & white.
[ my DREAMS pages, nonfiction ] Ingmar Bergman :
Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.
... two places are underdevelopment : cine101.com, of course, and tarkovsky.wetpaint.com ( to move some elements to "TARKVSKY's place"? )
* postmodern view of dreams in cinema [ pomo.vtheatre.net ? ] Dream a Dream: Dream Cinema * biblio? The Cinema of David Lynch : American Dreams, Nightmare Visions (Directors' Cuts) (Paperback)
by Erica Sheen (Editor), Annette Davison (Editor) 190336485X [ amdirectors and us movies take on dreams ]
... Soliaris, finale
... Stalker (last in USSR) [ new page? ]
Tracking shot : What does he see?
What do they see?
What do we see?
Is somebody watching him, them, us?
... Life became "Zone", the rest of "Life" is not "live" anymore.
The Room ?
Wife and Daughter --
New Role/Function of viewing -- film600
[ 2007 two new pages at film-north ]
... SF -- Read Plato!
[ "tarkovsky on cinema" : tarkovsky texts -- see my library @ books.google.com ]
Title: Sculpting in Time
ISBN: 0292701853
Publisher: University of Texas Press
Author(s): Andrej Tarkovskij, Kitty (TRN) Hunter-Blair
Format: Paperback
Publication Date: Jan 1, 1989
Subject: Performing Arts
Dimensions: 7.54 x 8.48 x 0.49 in
Pages: 254
* Collected Screenplays (Faber and Faber Screenplays) (Paperback)
by Andrei Arsenevich Tarkovsky (Author), William Powell (Translator) 0571142664
[ Stalker Page? ] tarkovsky.ru and Generation {Father-Russia, my nonfiction} + Brodsky [ poems for Tarkovsky Pages ? ]
...
Ñëàâà áîãó, ÷òî ÿ íà çåìëå
áåç îò÷èçíû îñòàëñÿ.
[Brodsky]
MOSCOW ELEGY (Alexander Sokurov) * ANDREI TARKOVSKY COMPANION
to read :
*** Film Theory Meets Physics :
A Deleuzian Analysis of Tarkovsky’s Theory of Time-Pressure, Part 1: Tarkovsky’s theory of time-pressure as ‘cine-physics’ and 2
filmplus.org/kino : Russian Cinema, 21st Century : "Russian Movies" (commercial production relpaced ideological - "box-office") and Art Films [ Tarkovsky, tradition ]
Festival of Arseny and Andrei Tarkovsky, timed to celebrate the centenary of the poet’s birth and the 75th anniversary since the birth of the film director will be held in London in November and December 2007.
