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 formative years --
Visions of Andrei Rublev --
Phantasies of Solaris --
Memories of reflect --
Revelations of Stalker --
Recollections of Nostalghia --
Illusions of Sacrifice --

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Additional resources for The cinema of Tarkovsky : labyrinths of space and time

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Within a single shot. The long take can be defined as an uninterrupted ? s case usually slow-paced ? cinematic shot which lasts longer than the conventional editing pace of the film. The long take remains open and refuses to be closed (edited), striving towards continuous presence. It invites the viewer to put aside the narrative framework and to contemplate time in its pure form ? sculpting in time?. s work? We could define it as sculpting in time . . lump of time? 5 Time captured, imprinted, and preserved in its natural forms and manifestations, is the ultimate foundation of film art for Tarkovsky.

Space? confusion? between space and time. [d]enoting time or duration? [d]enoting area or extension?. The confusion dates back to the most famous attempt to spatialize time in the history of philosophy ? s paradox. It comprises a thought experiment which posits that Achilles can never overtake the slow tortoise once he has allowed it a head start because whenever the speedy warrior reaches a point where the tortoise has been, he still has farther to go because his contender has moved on slightly.

Space and time intersect and form a complex spatio-temporal web. Tarkovsky refines this artistic device throughout his career, and perfects it in later works such as Mirror, Nostalghia and Sacrifice. identity? , for it catches a glimpse of a second Ivan, who drops a feather down the well. The singularity of the protagonist is undermined: Ivan is sleeping at the bottom of the well and at the same time peeking inside from above. s identity splits and the paths of his two alter egos converge in a single space, the well.

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