![]() ![]() Time, printed in its factual forms and manifestations: such is the supreme idea of cinema as an art, leading us to think about the wealth of untapped resources in film, about its colossal future.Ī passionate proponent of the creative and psychological benefits of boredom as a function of learning to fully inhabit time, he considers the undergirding psychological scaffolding that makes the allure of film so robust: That’s what the great Russian filmmaker Andrei Tarkovsky (April 4, 1932–December 29, 1986) examined in the last year of his life as he considered the raw material of his art in Sculpting in Time: Reflections on the Cinema ( public library). No human invention has rendered this paradox more pliant than the cinema. “If our heart were large enough to love life in all its detail,” the great French philosopher Gaston Bachelard wrote in contemplating our paradoxical relationship with time, “we would see that every instant is at once a giver and a plunderer.” The poet Mary Oliver put it even more perfectly: “All eternity is in the moment.” We long for immortality in a universe predicated on impermanence. Swept up in the vortex of immediacy - the now of what we’re experiencing with such insistent urgency - we yearn to anchor ourselves to some sense of temporal stability. ![]() We live stretched between the ephemeral and the eternal, constantly negotiating the two. ![]()
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