Tarkovsky, A 1987, ‘Time rhythm and editing’, Sculpting in Time: reflections on the cinema, University of Texas Press, pp. 113-124
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This part talks about time, rhythm and editing. The most powerful determinant of the film is the rhythm, the time presenting in the images. We can’t imagine a movie without a sense of time flowing through the screen, but it’s easy to imagine that there is no actor, music, set, or even editing in a movie. Editing can not determine the rhythm, in this regard, it can only become a style of characteristics. In fact, regardless of whether or not after editing, the time flows through the film.
This article gives a new perspective of time, rhythm and editing. Time flows in the picture, determining the choice of editing. Those “won’t edit” pieces can not properly assembled because they have recorded a completely different type of time. It is another thing to be considered when editing.
This part talks about time, rhythm and editing. The most powerful determinant of the film is the rhythm, the time presenting in the images. We can’t imagine a movie without a sense of time flowing through the screen, but it’s easy to imagine that there is no actor, music, set, or even editing in a movie. Editing can not determine the rhythm, in this regard, it can only become a style of characteristics. In fact, regardless of whether or not after editing, the time flows through the film.
This article gives a new perspective of time, rhythm and editing. Time flows in the picture, determining the choice of editing. Those “won’t edit” pieces can not properly assembled because they have recorded a completely different type of time. It is another thing to be considered when editing.