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FreeTechBooks Read review Open website. ProjectGutenberg Read review Open website. FeedBooks Read review Open website. Libgen Read review Open website. Archive Read review Open website. BitTorrentNow Read review Open website. 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 5 comments. The Fyodor Dostoyevsky of film making. There is still a lot that I don't know: what I am going to work on, what shall I do later, how everything will turn out, whether my work will actually correspond to the principles to which I now adhere, to the system of working hypotheses I put forward. There are too many temptations on every side: stereotypes, preconceptions, commonplaces, artistic ideas other than one's own.

And really it's so easy to shoot a scene beautifully, for effect, for acclaim. But you only have to "I love cinema. But you only have to take one step in that direction and you are lost. Cinema should be a means of exploring the most complex problems of our time, as vital as those which for centuries have been the subject of literature, music, and painting. It is only a question of searching, each time searching out afresh the path, the channel, to be followed by cinema. I am convinced that for any one of us our film-making will turn out to be a fruitless and hopeless affair if we fail to grasp precisely and unequivocally the specific character of cinema, and if we fail to find in ourselves our own key to it" View 2 comments.

He is too busy chasing after phantoms and bowing down to idols. In the end everything can be reduced to the one simple element which is all a person can count upon in his existence: the capacity to love. That element can grow within the soul to become the supreme factor which determines the meaning of "I see it as my duty to stimulate reflection on what is essentially human and eternal in each individual soul, and which all too often a person will pass by, even though his fate lies in his hands.

That element can grow within the soul to become the supreme factor which determines the meaning of a person's life. My function is to make whoever sees my films aware of his need to love and to give his love, and aware that beauty is summoning him. Andrei Tarkovsky has much in common with Dostoevsky in the sense that his movies move at a deliberate, slow pace with drawn out panning movements and long takes.

They need extra effort from the viewer to appreciate them. His movies are much concerned with the "inner life" and the psychological truths of his characters. In this book he shares his ideas on filmmaking. Gives us an insight into the rules and methods that Tarkovsky set for himself in making his movies. Not a technical treatise but mor Andrei Tarkovsky has much in common with Dostoevsky in the sense that his movies move at a deliberate, slow pace with drawn out panning movements and long takes.

Not a technical treatise but more of a phenomenological work. His ideas on the nature and purpose of art, especially pertaining to cinema, and its importance for the spiritually poor, modern consumerist world that seems be on the self-destructive mode.

Tarkovsky was especially drawn to Japanese Haikku which is the simple observation of the world around us, unclouded by preconceived notions and judgements. For him,the essential element of cinema is also observation, the experience of the world.

Since this principle was already there in haikku, however, it is clearly not exclusive to cinema. What "We all know the tradicional genre of ancient Japanese poetry, the haikku. What attracts me in haikku is its observation of life - pure, subtle, one with its subject. Tarkovsky in Sculpting the Time, p. For some reason I went into this thinking I'd get a book about his thoughts and information on his films but that ended up being about 20 pages total with the rest being pseudo philosophy and other musings.

I'd only recommend this to people who are already fans of his filmography and not those who are interested in general film theory. Alas, here are are what I took to be the noteworthy points raised in the book: 1. Tarkovsky believes that the director ought not try to satisfy the audience as this For some reason I went into this thinking I'd get a book about his thoughts and information on his films but that ended up being about 20 pages total with the rest being pseudo philosophy and other musings.

Tarkovsky believes that the director ought not try to satisfy the audience as this will only lead the them astray. They should direct by being aesthetically receptive and trying to recreate their subjective world like a poet he means poet to mean a way of looking at the world -- and he acknowledges some will be irked or disinterested by his inner world.

He is pro realism and anti symbolism in film. He believes the most impactful way to portray a situation is with the reality of events rather than obtuse metaphors. He is against montage theory and believes that to be true to the essence of cinema is to leave everything formally within the frame and attempt to capture time in the film image the way that it exists in real life, thus making "rhythm" and not editing the main formative element of cinema.

He believes editing and assembly disturb the passage of time and gives it something new, thus distorting time can give it a rhythmical expression Sculpting in time. He evolved from planning the details of the scene to approaching it with a general idea due to reality being richer than imagination and allowing serendipity. He finds meticulous plans abstract and restricting on the imagination so one should merely approach the scene with an open mind. He believes the actor shouldn't have any unconscious knowledge of how a scene will unfold but act naturally as if it were real by being given only the necessary information, and allows the actor to have autonomy without restricting their freedom of expression.

He thinks a good actor isn't merely understandable but is truthful. He thinks that genre film is mass culture trash and the only true form of cinema is art film. Music used correctly goes beyond intensifying the image by paralleling it with the same idea -- done correctly it transfigures the image into something different in kind. Properly used, music has the ability to change the whole emotional tone of a filmed sequence.

The success of a film is not to be measured by sales as it depends on how it individually received with the dispositions of each viewer, some which will appreciate it completely and others who will find it alien.

He was never a fan of american style adventure movies and wanted to create inward attention rather than outward. His films contain no metaphors except a few exceptions. The zone is merely the zone, it's life, and the actualisation of man in finding the zone is the same process man goes through in life in discovering himself and coming to terms with his existence and grief.

Andrey Tarkovsky's Sculpting In Time. One of the best books ever written about cinema by one of the greatest cinema directors of all. I like movies. That being said, I'm not obsessed with movies. My field is literature, because writing is my happy medium of conveying thoughts and feelings. However, I bought this book for a friend of mine who is obsessed with both literature and movies, and who can appreciate it fully.

I loved the book - Tarkovsky is a surprisingly good writer - and I took from it a lot with regards to movie making, the relatio ships between the director and the actors, the audience and transmitting enough info I like movies. I loved the book - Tarkovsky is a surprisingly good writer - and I took from it a lot with regards to movie making, the relatio ships between the director and the actors, the audience and transmitting enough information through an image so that the viewer understands the point.

I would truly recommend this to anyone, if only to expand your general culture on interesting subjects. This book. Tarkovsky is a genius and the rare humble kind of genius. So much about art and film can me learned from this book and I loved the insight into his films. Something of a blog post: I am currently working on a playscript concerned with his exile and death, though using an analogue to explore my relationship with my father.

This short work was an invaluable insight, especially alongside his journals, which are important as a further revelation of his personality, his relationship with his family, being plagued by doubt, his humanity. This is what he wanted to be, what he wanted to project, what he wanted to want to be. He was a tragic figure. I wond Something of a blog post: I am currently working on a playscript concerned with his exile and death, though using an analogue to explore my relationship with my father.

I wonder if I should really take up cinematography. I hope this play will help bring understanding. I was thinking of having its central conflict be between artistic and humanitarian, internal and external morality, concerning the Holy Land, the binational federalisation though this does not appear to have affected him as such. It would need to butterfly.

I'm looking forward to reading Kieslowski, who appears to be less lucid, less articulate, less structured, less zealous, a medium almost entire, which should make a pretty good contrast. Read it! The first Tarkovski's movie that I saw was his last one "the sacrifice". He died few time after in Paris.

It is one of the most beautiful film ever made. Nuclear war threatens. Man passes a pact with God. If his family is saved in the morning, he gives up speaking. After a night agitated his family is saved. He decides to pass for insane so respecting the pact. The The first Tarkovski's movie that I saw was his last one "the sacrifice". The last pitcures sees his son sprinkling the tree planted by his father. He pronounces a sentence of St-John "the verb made in chair".

It is the film the strongest which I know. A giant masterpiece There is all life dead spirutuality. I decided to see all of Tarkowski's movies. In all of his works, we find the same questions about the human conditions. An immense film director, one of the best, too ignored now. View 1 comment. Each and every chapter is a goldmine. No question bothered humanity so much than the question of their own purpose in this vast cosmos.

Since the inception of human culture mankind has always suffered through meaninglessness and absurdity. As every culture and society are the products of man's necessity,we were always keen to create imaginative world which became the dwelling places of our ego. This might have been the case behind the origin of our spiritual life.

To escape from the material life that only reminds us of our mortalit No question bothered humanity so much than the question of their own purpose in this vast cosmos. To escape from the material life that only reminds us of our mortality or degeneration, we paved a route for inward existence. And then there began our submission to myth,religion and nature.

It is just that evolution made our way twisted,with dark circles and caves. And gave birth to poetry, painting,music and lastly cinema. And what this art demands of us? But a true vocation towards this medium of art,let it be poetry, cinema or painting makes the life of a human being powerful and beautiful. So art in a way conveys the deeper need of human beings belonging to a particular society or age.

Andrei tarkovsky is one of my favourite film maker. No,only dictating him as a filmmaker would be a crime. As he considered himself as a poet rather than a filmmaker. The meaning of this genre i only understand by watching Tarkovsky's cinema. It means a kind cinema where there are no underlying meaning or symbols regarding the philosophy of a film.

Which is most like a poetry that only connects with the audience through emotion,not with words or any kind of intellectual stimuli. Tarkovsky's film such as Mirror,Solaris,Stalker,Ivan's childhood etc has always filled me with a kind inspiration towards cinema and whole phenomena of art; his film always kindled the dampness of my sould and gave an indication of a way to heal my spiritual crisis.

Though i watched all of his films,i never really knew anything about his approach in filmmaking or his outlook on art and cinema. So after reading this book i at least could resonate the deepest yearning of my heart with him. His submission towards art really made a great impression on me. This man just literally prayed through cinema. In this book, he discussed about the relation between other mediums of art such poetry,painting music to cinema and limitation that arises during the making of cinema.

Besides, he talked about the process of making some of his masterpiece films and the personal messege underlying those films. All in all,it is a book where we can see the reflection on art and life from one of the greatest filmmaker. Art is a meta-language, with the help of which people try to communicate with one another; to impart information about themselves and assimilate the experience of others. Again, this has not to do with practical advantage but with realising the idea of love, the meaning of which is in sacrifice: the very antithesis of pragmatism.

I simply cannot believe that an artist can ever work only for the sake of 'self-expression. For the sake of creating a spiritual bond with others it can only be an agonising process, one that involves no practical gain: ultimately it is an act of sacrifice. But surely it cannot be worth the effort merely for the sake of hearing one's own echo? He smoked a lot while he worked and occasionally drank strong tea. He led a monotonous life, starting off in Staraya Russya the prototype of the town where Karamazov lived.

His favourite colour — the waves of the sea. He often dresses his heroines in that colour. I count myself lucky to have watched these fellas' films, not only because they're pretty good but also they've got depth.

With this masterpiece of Tarkovsky, I had the chance to access to the very mind of this genius. Sculpting In Time is fairly plain, just like his films "Tarkovsky for me is 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. Sculpting In Time is fairly plain, just like his films.

He solely puts his life experiences into words in a quite smooth way. What gave him inspiration, how he managed to create the films he did universally, all his modesty, that's the content of this very book, touching the very soul of man.

I'm going to finish the review with a passage he wrote on my favourite film of him, Stalker. I'm reduced to a state of fury and despair by such questions. The Zone doesn't symbolise anything, any more than anything else does in my films: the zone is a zone, it's life, and as he makes his way across it a man may break down or he may come through. Whether he comes through or not depends on his own self-respect, and his capacity to distinguish between what matters and what is merely passing.

I see it as my duty to stimulate reflection on what is essentially human and eternal in each individual soul, and which all too often a person will pass by, even though his fate lies in his hands. He is too busy chasing after phantoms. And, uh, just for the record; the people who went into the radioactive zone for making the film, Stalker; the three actors, photographer, assistant director and Tarkovsky himself, all faced a slow death because of cancer and died within 17 years of making Stalker.

Just keep that in mind when you're in front of a screen, watching the best film ever made. You owe it to these very people who all gave their lives for. A book that both inspired me immensely, and aided in destroying all interest I had in film.

Every film student should read this, even if they don't enjoy his work. I think his ideas are far greater than his films. His way of explaining is a bit off-beat, and reminded me of Russian painter Wassily Kandinsky quite a lot see Concerning the Spiritual in Art - Highly recommended to anyone who enjoyed this, by the way.

In this book Tarkovsky explains the methods behind his films; and not in a techni A book that both inspired me immensely, and aided in destroying all interest I had in film. In this book Tarkovsky explains the methods behind his films; and not in a technical sort of way. He explains his films in terms of his philosophy, which is very spiritual in nature.

I would recommend viewing his films first not all of them are necessary, but as many as possible. He refers to "The Mirror" quite a lot throughout the book, so that film in particular is a must. The films were haunting, but not completely necessary to get the full value of the book. The book was absolutely stunning and probably the best book on film I have ever read.

Tarkovsky begins by teasing out what film art is and how it differs from other art forms, and then works his way through different aspects of film making including the image, rhythm, editing, and so on. With each chapter I felt blown away by his thoughts on just about everything, and came out of the experience with a completely different take on film art than the one I went in with.

Sometimes five stars are just not enough. Simply the greatest book I have ever read. It will last forever. It took me this long to read because I found myself having to read each page times. I think that I've barely even scratched the surface of it still. Re-reading it will likely prove how layered this book really is. Not only a masterclass for cinema, but also for art in general.

And life as an artist really. I loved it to death. Through this book, we are given a rare glimpse into the mind of the poet-filmmaker so often described as the cinematic equivalent of Fyodor Dostoevsky. His intellectual curiosities are mirrored in his films: poetry as a way of being, thinking, and seeing; struggle and human frailty; sacrifice and the ascetic ideal. The basic raw material for the filmmaker is time itself.

The sculptor, the filmmaker, and the historian can be conceptualized as artists working with time, in time, and forming impressions of time. The rules governing each of those domains vary widely, but the raw material of time and their emphasis on interpretation remains the same.

The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good. Its realisation is tantamount to a physical feat. Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?

Finest work on art I have read. Truly inspiring. Art is truth; art is sacrifice; art is worship; art is a mirror into the soul. Though through a mirror we see darkly, by art we grasp glimpses of inarticulable reality, the rays of the far country piercing through barred windows. Andrei Tarkovsky is the greatest filmmaker of the 20th Century, there's just no disputing this fact.

His writings on film, presented here, are indispensable to anyone interested in film. It's always a pleasure when great artists talk about the art that they consider great and why. Tarkovsky would be a cinema legend if all he had ever done was Stalker, but here he shows, even beyond the evidence of his other films, that he's articulate and insightful enough about art in general to be worth reading for his criticism alone.

In this essay collection he uses his own movies as specific examples of his general aesthetic philosophy, but his real sights are set a bit higher than his own It's always a pleasure when great artists talk about the art that they consider great and why. In this essay collection he uses his own movies as specific examples of his general aesthetic philosophy, but his real sights are set a bit higher than his own work: the purposes of art; how spirituality informs his creative goals; how cinema differs from the other arts like painting, theatre, literature, music, etc; the problem of communicating and connecting to an audience without writing "for" them; and most importantly, why time itself is the primary medium of film.

Many of his opinions are contentious, but his personality is strong enough that if you were ever curious about why so much ink was spilled over the "auteur theory" of film back in the day, this is one reason why. The only two of Tarkovsky's movies I've seen are Solaris and Stalker; once each, in college.

While I can't say that I found either of them to be among my favorite movies of all time I'm no Geoff Dyer, whose book praising Stalker I haven't read , they both left a definite impression on me. Granted, that impression was mainly one of almost stupefying tedium - seemingly endless shots of people standing in mud, hallways, or hallways filled with mud - but they weren't just any shots. By the end of Stalker in particular I was nearly hypnotized, and indeed, as Tarkovsky explains here, his use of lengthy takes is a deliberate choice.

To Tarkovsky, time is the medium of film the way that marble is the medium of the sculptor, and that to truly communicate an idea to an audience, sometimes you have to use a lot of marble. Often this involves presenting scenarios in a different way than would seem obvious; for example, in his discussion of his film Ivan's Childhood, he talks about the difficulty in being true to our memories in our depictions: "Generally people's memories are precious to them.

It is no accident that they are coloured by poetry. The most beautiful memories are those of childhood. Of course memory has to be worked upon before it can become the basis of an artistic reconstruction of the past; and here it is important not to lose the particular emotional atmosphere without which a memory evoked in every detail merely gives rise to a bitter feeling of disappointment.

There's an enormous difference, after all, between the way you remember the house in which you were born and which you haven't seen for years, and the actual sight of the house after a prolonged absence. Usually the poetry of the memory is destroyed by confrontation with its origin. I was not only reminded of countless moments of revisiting old times in my own life, but also other films that deal with the workings of time.

What would Tarkovsky have thought of Boyhood; is that what he meant by "sculpting in time"? One thing that distinguished Boyhood from other movies about childhood like The Blows was that the aging of the characters had a palpable rhythm - at times imperceptible, at times shocking - how would that fit into his sculpting theory, since I don't believe Linklater tried for the same effect within each scene as between them?

However, The Blows had sequels with the exact same main character much like Linklater's Before trilogy , so can you sculpt between films as well as in them? What about other movies that don't try to emphasize the passage of time but play around with shot duration? Tarkovsky is very critical of famous directors like Eisenstein that pioneered montage, cuts, and transitions as a primary method of film grammar, so one can only imagine his thoughts on being confronted with a wearingly rapid Michael Bay movie: "I reject the principles of 'montage cinema' because they do not allow the film to continue beyond the edges of the screen: they do not allow the audience to bring personal experience to bear on what is in front of them on film.

Each of these riddles, however, has its own word-for-word solution; so I feel that Eisenstein prevents the audience from letting their feelings be influenced by their own reaction to what they see. I have so many questions for him, especially because he's very clear that although film uses many similar aspects as other arts, film is not those arts, and should obey The Rules: films use music, but soundtracks shouldn't draw attention to themselves in the film; screenwriting uses literary techniques but is not literature itself; actors can't act in a take of a scene the way they would in a scene in a play; directors trying to pretend that their movies are paintings will distract the audience with too-vivid colors; and so on.

He's got a lot of opinions, and all of them had me thinking about if other directors are truly doing things "the wrong way", which is not un-contentious, to say the least. For example, imagine if all directors had the same attitude towards color as he does: "You have to try to neutralise colour, to modify its impact on the audience. If colour becomes the dominant dramatic element of the shot, it means that the director and cameraman are using a painter's methods to affect the audience.

That is why nowadays one very often finds that the average expertly made film will have the same sort of appeal as the luxuriously illustrated glossy magazine; the colour photography will be warring against the expressiveness of the image.

And I like Anderson's films! Each of his films is unmistakably his own. But what's wrong with a director having a style? All artists communicate in their own way, and I don't think that emphasizing one of the components of a film undermines that film itself, certainly not "as a film".

Imagine that criticism applied to other art forms; is it wrong that the music for Stravinsky's The Rite of Spring has become famous far beyond the choreography of the ballet it was written to accompany? Is admiring a particular line of dialogue in a film really so different from admiring one in a play?

And along those lines, his extensive praise for directors like Ingmar Bergman and Robert Bresson mostly focuses on how he interprets the purity of their vision: "not one of them could be confused with anyone else. An artist of that calibre follows one straight line, albeit at great cost; not without weaknesses or even, indeed, occasionally being far-fetched; but always in the name of the one idea, the one conception. To reuse one of his Dostoevsky examples, it's entirely possible that a faithful cinematic rendering of the character of the Grand Inquisitor might involve using more literary techniques, or dramatic lighting, or color symbolism, and that that would work perfectly well in the film.

On the subject of symbolism, Tarkovsky is somewhat ideologically inconsistent, denying that any of his films contain symbols or metaphors, and then immediately conceding that both Nostalgia and The Sacrifice contain metaphors for the protagonist's inner state, and the mystery of faith, respectively.

I can see both sides excessively allegorical art can get old quickly , but I will give him a pass since strict artistic consistency is boring. There's a clear link between his love for "purity" in art, his fascination for simple schemas like haikus or the Aristotelian unities of time-place-action, and his spirituality. He's got some pretty intense views on the purposes of true art: "The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as example.

Touched by a masterpiece, a person begins to hear in himself that same call of truth which prompted the artist to his creative act. When a link is established between the work and its beholder, the latter experiences a sublime, purging trauma. Within that aura which unites masterpieces and audience, the best sides of our souls are made known, and we long for them to be freed. In those moments we recognize and discover ourselves, the unfathomable depths of our own potential, and the furthest reaches of our emotions.

Arguments over national characteristics are somewhat "foreign" to me, if you will, yet the essential Russian-ness of Russians is the subject of his final film, and he's far from the first Russian author to have such a sentiment. It's very common to group artists in all media into scenes for film, just think of French New Wave, Italian Neorealism, German Expressionism, etc , yet even though Tarkovsky's films probably couldn't have been made by a non-Russian, I think his vision operates on a fairly universal level, even if he is somehow more similar to other Russian directors like Eisenstein he doesn't agree with than foreign directors like Bergman or Bresson that he does agree with.

Perhaps there are some untranslatable elements in art - see the rueful translator's notes that adorn some of the poems from his father in the book - but if each person's view of the world were truly in a different language than communication would be impossible. That a singular artist like Tarkovsky operates at such a serious level can put his films out of reach for the casual viewer which is to say me in college , and indeed he has strong feelings about the dangers of writing "for" an audience rather than trying to stay true to an inner vision, but if the highest compliment you can pay to a book like this is that it made me want to watch the films of his I haven't seen, rewatch the ones I have, and debate his ideas with other people, then consider it complimented.

Despite the meandering, Solzhenitsyn-ish rant at the end about the dangers of abandoning religion, his discussion of Ivan's Childhood should inspire artists no matter how irreligious: "Masterpieces are born of the artist's struggle to express his ethical ideals. Indeed, his concepts and his sensibilities are informed by those ideals.

If he loves life, has an overwhelming need to know it, change it, try to make it better - in short, if he aims to cooperate in enhancing the value of life, then there is no danger in the fact that the picture of reality will have passed through a filter of his subjective concepts, through his states of mind. For his work will always be a spiritual endeavour which aspires to make man more perfect: an image of the world that captivates us by its harmony of feeling and thought, its nobility and restraint.

Sculpting in Time, like nothing else I've ever read, gives a view into the mind of a once-in-a-generation artist, a filmmaker who considered himself a poet, and was truly both of those things. We are lucky to have access to Tarkovsky's important and wonderfully clear insights into what being an artist in the modern world means.

The depth and clarity of his ideas about art — writing and cinema, especially — are unparalleled.

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