The cinema of Tarkovsky : labyrinths of space and time by Nariman Skakov

By Nariman Skakov

On space(s) and time(s) --
Dreams of Ivan's adolescence --
Visions of Andrei Rublev --
Phantasies of Solaris --
Memories of reflect --
Revelations of Stalker --
Recollections of Nostalghia --
Illusions of Sacrifice --

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Change mummified? sculpting in time? are impossible amalgams, which are bound to remain mere figures of speech. merely? to record motion is replaced by an ambition to capture temporal flow. Time, however, is not a palpable substance and is never static. ,31 time still resists that occupation of a certain spatial point that is a prerequisite for sculptural material (physical matter). Time cannot be conceived of using the three spatial dimensions because it itself constitutes a fourth, qualitatively different dimension.

Celebrate the temporal qualities of cinema. These strategies reveal time respectively as an agent of change, as duration and as an all-encompassing reservoir of being and creativity. 3 However, if the cinematographer is to use colour, he or she should do it with the utmost care, since colour reveals the condition of physical matter over time, its change and its endurance. Thus, leaves changing colour or rust on an old gate are ideal filmic images revealing a natural process ? nature immersed in duration.

S Childhood are difficult to overlook. The cinematic journey, which is supposed to depict the cruel realities of warfare, begins with an unreal event: the dream. real? s overall compositional strategy. :6 for his father-figures and mentors fail to recognize his inability to distinguish between the real and the imaginary. The boy is traumatized by the brutality of warfare. He confronts the past by re-experiencing the most memorable scenes and events of his life. It appears that the trauma manifests itself in a Freudian manner ?

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