英文翻译

Question

塔尔科夫斯基的表述略有不同，他觉得影像是一个自动的记录过程，几乎是被动的。他在日记中引用了鲍里斯 R26;帕斯捷尔纳克（Boris Pasternak）的一句话（1922年）：“现代主义诸潮流以为艺术是喷泉，而实际上它如同海绵。”同样，电影具有摄取时间、“从生活中汲取所需”的 本质功能，而无需特意为之。电影是对纷繁事件所体现的时间被动吸收的艺术和技术，就像海绵吸水一样。电影艺术的本质在于时间，体现事件的时间，或者简单地 说，就是时间。由此而来，塔尔科夫斯基一句言简意赅的话概括了他的电影观：“如果影像生存于生活中并且从第一个镜头开始时间也生活于影像中，那么它才能成 为电影。”生命存在于时间，并且使时间富有生命：那么需要在“生命”这个概念上达成一致。
时间印记：时间是镜头的性质

既然时间既是人类心理的基本尺度又是电影影像的要素，艺术应当成为处理时间的艺术，将其 采集整理并重新创作，但这必须是在尊重真实时间、“有生命”的时间的前提下。电影“根据生活本身的形态，根据它的时间法则”来再现时间。这第一个电影艺术 主张符合一个对塔尔科夫斯基和许多电影家都具有吸引力的体裁：纪事片（la chronique）。对他而言，纪事确实是一个积极的理想，这要求保持一定的真实感而不能变成形式主义，比如，没有必要给人突出扛着摄像机正在进行新闻 报道的印象，这样只会无谓地吸引对拍摄过程的注意。电影的时间表达主要体现在它记录事件而不是显示拍摄过程，这样才是真正的电影艺术，并且符合艺术和真 实。这是塔尔科夫斯基的辩证法：镜头所摄录的时间必须是真实的、“生动的”，而且不能过于个性化、个别化，必须保持一些普遍意义，不仅能够指示具体描述的 事件而且能在现实中找到普遍的指示意义。电影导演的任务就是从一个平常的记录出发来组成一个有时间意义的影像：既要避免介入所拍摄的事件和干扰其时间性， 又要给所拍摄的事件和时间一定的规定，电影导演就是这样一个集矛盾于一身的艺术家。

这是塔尔科夫斯基和布莱松英雄所见略同之处，塔尔 科夫斯基对后者充满敬意，曾多次提及。让演员自由放松地发挥，任他们在摄像机前表现，塔尔科夫斯基的这个思想与布莱松的“期遇”理念极为相像；而且，他也 是从与布莱松所想像的同样场景（在街上与一个陌生人短暂的不期而遇）出发得到这样的想法，所做的表述也很相近。二者的主要不同在于：布莱松认为事情本身是 不透明的，它包含着意义，我所见的只是结果，而我要寻找或想像一个能说明问题或最终的原因。而相反，塔尔科夫斯基认为事情本身不一定有意义，一切在于对关 注者所产生的情感当中。对布莱松而言，作品的根据是所产生的“期遇”，最终也就是真实本身；但在塔尔科夫斯基看来，作品的成功来自创作者，就是艺术家和他 的情感：由此可见，布莱松的电影作品与理论是一致的，而塔尔科夫斯基的电影与其所宣扬的主张往往相去甚远。

塔尔科夫斯基通过比喻的方 式概括了他对电影艺术的观点：雕塑时间，创作节奏。这两个比喻一个来自绘画艺术，一个来自音乐，似乎难以糅合，而且塔尔科夫斯基关于节奏的表述彼此矛盾， 此处定义倾向于形式和抽象，彼处定义又与戏剧性相联系。因此，最清楚的表达是以否定形式出现的（塔尔科夫斯基经常如此）：节奏与剪辑无关。首先是因为塔尔 科夫斯基总体上不认可剪辑的决定性作用，他认为电影主要是拍摄过程，在此基础上，一个好的剪接才起到锦上添花的作用；其次，他认为电影作品不存在韵律的问 题。“节奏取决于镜头之间时间的特点，也就是说，影片的节奏不取决于所剪接的片段的长度，而是它们之间过渡时间的强度。”

Answer 1

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."

Answer 2

　　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

Answer 3

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."