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A piece of music can be played in different ways where musical time is a condition of certain causes and effects set out in a given order, carrying abstract and philosophical sensibilities – music records time inwardly. Tarkovsky’s theoria appears to be a complicated cinematic construct but it is not. View Andrei Tarkovsky Research Papers on Academia.edu for free. time-pressure] or rarefaction, ‘the pressure of time in the shot’. The 20 Best Tarkovskian Films Not By Andrei Tarkovsky Posted on September 30, 2016 November 3, 2019 by Gabriele Manfredi Andrei Tarkovsky was a poet of cinema who was famous for his techniques, his use of long takes, slow dollies, atmospheric use of elements, and legendary theories about cinema as sacrifice and cinema as sculpting in time. In short, it is imperative that the time-wave propagates freely from shot-to-shot, otherwise, a form of resistance develops in the “gap” and the purity of the optical and sound situations which is the basis for the direct perception of time is lost. But the cut is theoretically justified because the stark contrast between the chaotic _time-pressure in the technological montage and the tranquil rhythm in the shot of the natural landscape reflects one of the film’s thematic conflicts of technology/nature, space/earth (1992, 24-25). The crystal-image is the indivisible unity of the virtual image and the actual image … The crystal-image shapes time as a constant two-way Mirror [like in Mirror] that splits the present into two heterogeneous directions, “one of which is launched towards the future while the other falls into the past. But in an artistic creation the personality does not assert itself, it serves another, higher, and communal idea. The montage heightens to a frenzied single-frame fusion of overlapping highways, lights, skyscrapers and cars. He moves with such naturalness in the room of dreams. It follows from cinematic physics that editing is the assembly of the shots which results from the time-impedance matching (analogous to the impedance matching characteristics of filters used in electronic circuitry) of their inherent time-pressure_s. Henri Bergson [1859 – 1941] was a French philosopher who distinguished between habit formed memories that are stored in the brain (matter => physical), pure recollections that permeate consciousness (mind => mental), and unsolicited independent memories that are detached from perception, appearing to move freely in a virtual flow of thoughts or quasi-thought-images (thought => temporal). It is characterized by films about national history and WWII, social dramas, and poetic films. Paradjanov proceeds by means of ‘perceptual dislocation’ making it impossible at any given moment to imagine a stable time-space continuum for the dramatic action. Time-thrusts can occur off-screen within or without a diegetic setting (i.e. Mirror extracts images from thought-memories and surrounds them in a world of time. Time consists of this split, and it is … time, that we see in the crystal [the crystal of Mirror]” (Deleuze’s Cinema 2, pp. The second stage occurs between 1964 and 1982 when Leonid Brezhnev [1906 – 1982] becomes the general secretary of the communist party, and a more conservative, party-centered government is set up as the hallmark of this regime. Thus, distribution of Hollywood films in the national film market is allowed and international co-productions are initiated, especially with Europe. Andrei Tarkovsky is the most celebrated filmmaker of the 1960’s, 70’s and 80’s (until his death in Paris on Dec. 29, 1986). 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