第1个回答 2009-03-05
Tarkovsky formulation is slightly different, and he felt the images are a record of an automatic process, almost passive. He quoted in his diary Boris R26; Boris Pasternak (Boris Pasternak) sentence (1922): "Modernism from the trend of thought that art is the fountain, and in fact as if it were a sponge." Similarly, the movie has uptake time, "needed to draw from life," the essence of function, without having to do specifically. Film is a complicated case of time embodied in a passive absorption of the arts and technology, just as absorbent as a sponge. Film art is the essence of time, reflect the case of time, or simply to say, is that time. The resulting, Tarkovsky, then a concise summary of his concept of cinema: "If the images exist in life and the beginning of a scene from the first time live in images, it can become a movie." Existence of life in time, and so full of life-time: In that case, the need for "life" to reach agreement on this concept.
Time mark: Time is of the nature of the lens
Time now that human psychology is not only the basic scale is the image of the elements of cinema, art should be the time to deal with the art, will organize its collection and re-creation, which must be respected at real time, "has life" under the premise of the time. Film "Under the form of life itself, according to its time rule" to reproduce the time. This is the first artistic ideas in line with the movie a lot of Tarkovsky and home movies are attractive genre: Chronicle tablets (la chronique). For him, the Chronicle is indeed a positive ideal, which requires maintaining a certain level of realism and formalism should not become, for example, there is no need to give the camera to highlight the ongoing news reports carrying the impression that this will only attract unnecessary attention to the filming process. Movie time expression is mainly reflected in its records show the case rather than the filming process, so that real cinema art, and in line with the art and the real. This is dialectics Tarkovsky: the lens of the video recording time must be real, "vivid" and should not be too personalized, individual, and must maintain a number of universal significance, not only can the instructions described in the specific case but can be found in the real meaning of the general instructions. Film director's task is recorded from a normal starting time has come to form a meaningful image: it is necessary to avoid involvement in the shooting incident and the disruption of its timing, but also give the shot and time must case the provisions of movie director is one such set of contradictions in an artist.
This is Tarkovsky and Bresson of the Great minds think alike, the latter filled with Tarkovsky tribute, have said time and again. Freedom to relax so that the actors play, he was their performance in front of the camera, this idea Tarkovsky and Bresson's "period of the event" a very similar concept; Moreover, he is also from the same Bresson have imagined Scene (Stranger in the street with a short-term bump) starting to be such a mind, the statements made are very similar. The main differences between the two is: blaison consider things themselves are opaque, it contains the meaning, I can see only the results, and I would like to find or imagine a problem or explain the reasons for eventually. Rather the contrary, Tarkovsky think things are not necessarily meaningful, everything is on the concern generated by these feelings. Of Bresson, the works are produced in accordance with the "period of the event," that is finally the real itself; but Tarkovsky It appears that the success of works from the creators, that is, the artist and his feelings : It can be seen that Bresson's films are consistent with the theory, and Tarkovsky's movie and it is often a far cry from the idea to promote.
Tarkovsky way through the metaphor summed up his views on cinema and art: sculptures of time, creating the rhythm. Analogy of a painting from the arts, one from the music, it seems difficult to blend, and Tarkovsky's statements about the rhythm of each other contradictions, here the definition of preferred forms and abstract, the definition yond linked with the dramatic . Therefore, the most clear expression by the negative form (Tarkovsky often the case): the rhythm has nothing to do with the clip. First of all, because the overall Tarkovsky does not endorse the clip on the decisive role, in his view the major movies are filming process, on this basis, a good editing only played the role of icing on the cake; Secondly, he believes that film does not exist rhythm problems. "Rhythm depends on the time between the characteristics of the lens, that is, the rhythm of film editing does not depend on the length of the fragment, but the transition time between them strength."本回答被提问者采纳
第2个回答 2009-03-13
Tarkovsky formulation is slightly different, and he felt the images are a record of an automatic process, almost passive. He quoted in his diary Boris R26; Boris Pasternak (Boris Pasternak) sentence (1922): "Modernism from the trend of thought that art is the fountain, and in fact as if it were a sponge." Similarly, the movie has uptake time, "needed to draw from life," the essence of function, without having to do specifically. Film is a complicated case of time embodied in a passive absorption of the arts and technology, just as absorbent as a sponge. Film art is the essence of time, reflect the case of time, or simply to say, is that time. The resulting, Tarkovsky, then a concise summary of his concept of cinema: "If the images exist in life and start a scene from the first time live in images, it can become a movie." Existence of life in time, and so full of life-time: In that case, the need for "life" to reach agreement on this concept.
Time mark: Time is of the nature of the lens
Time now that human psychology is not only the basic scale is the image of the elements of cinema, art should be the time to deal with the art, will organize its collection and re-creation, which must be respected at real time, "there is life" under the premise of the time. Film "Under the form of life itself, according to its time rule" to reproduce the time. This is the first artistic ideas in line with the movie a lot of Tarkovsky and home movies are attractive genre: Chronicle tablets (la chronique). For him, the Chronicle is indeed a positive ideal, which requires maintaining a certain level of realism and formalism should not become, for example, there is no need to give the camera to highlight the ongoing news reports carrying the impression that this will only attract unnecessary attention to the filming process. Movie time expression is mainly reflected in its records show the case rather than the filming process, so that real cinema art, and in line with the art and the real. This is dialectics Tarkovsky: the lens of the video recording time must be real, "vivid" and should not be too personalized, individual, and must maintain a number of universal significance, not only can the instructions described in the specific case but can be found in the real meaning of the general instructions. Film director's task is recorded from a normal starting time has come to form a meaningful image: it is necessary to avoid involvement in the shooting incident and the disruption of its timing, but also give the shot and time must case the provisions of movie director is one such set of contradictions in an artist.
This is Tarkovsky and Bresson of the Great minds think alike, the latter filled with Tarkovsky tribute, have said time and again. Freedom to relax so that the actors play, he was their performance in front of the camera, this idea Tarkovsky and Bresson's "period of the event" a very similar concept; Moreover, he is also from the same Bresson have imagined Scene (Stranger in the street with a short-term bump) starting to be such a mind, the statements made are very similar. The main differences between the two is: blaison consider things themselves are opaque, it contains the meaning, I can see only the results, and I would like to find or imagine a problem or explain the reasons for eventually. Rather the contrary, Tarkovsky think things are not necessarily meaningful, everything is on the concern generated by these feelings. Of Bresson, the works are produced in accordance with the "period of the event," that is finally the real itself; but Tarkovsky It appears that the success of works from the creators, that is, the artist and his feelings : It can be seen that Bresson's films are consistent with the theory, and Tarkovsky's movie and it is often a far cry from the idea to promote.
Tarkovsky way through the metaphor summed up his opinion of the movie art: sculptures of time, creating the rhythm. This is both a metaphor from painting art, one from the music, it seems difficult to blend, and Tarkovsky's statements about the rhythm of each other contradictions, here the definition of preferred forms and abstract, the definition yond linked with the dramatic . Therefore, the most clear expression by the negative form (Tarkovsky often the case): the rhythm has nothing to do with the clip. First of all, because the overall Tarkovsky does not endorse the clip on the decisive role, in his view the major movies are filming process, on this basis, a good editing only played the role of icing on the cake; Secondly, he believes that film does not exist rhythm problems. "Rhythm depends on the time between the characteristics of the lens, that is, the rhythm of film editing does not depend on the length of the fragment, but the transition time between them strength."