Edward Torsney

Having worked in corporate, community and heritage sector video production Edward Torsney often looked forward to a time when he could go back to his roots, back to the experimental moving image world he explored over 25 years ago whilst studying for a degree in Fine Art – Time based media.

Beginning this journey of rediscovery, Edward Torsney began re-watching the films of Andrei Tarkovsky and reading Tarkovsky’s philosophical writings.

Andrei Tarkovsky’s “Sculpting in Time” is a seminal work in the realm of cinematic theory and philosophy, offering profound insights into the art and purpose of filmmaking. At the heart of Tarkovsky’s reflections is his unique approach to time and rhythm, which he treats not merely as technical elements, but as essential, expressive tools for exploring the human condition.

Tarkovsky’s concept of “sculpting in time” revolves around the idea that cinema, unlike other forms of art, has the unique ability to capture and manipulate time. He argues that film should not merely present a sequence of events, but should instead shape time in such a way that it reveals deeper truths about existence and consciousness. This manipulation of time allows Tarkovsky to delve into the nuances of human experience, presenting it in its most raw and unfiltered form.

In his films, Tarkovsky often employs long takes and a deliberate pacing, which stand in stark contrast to the quick cuts and rapid editing prevalent in mainstream cinema. This rhythmic approach creates a meditative space for the viewer, encouraging a deeper engagement with the images and themes presented on screen. By allowing scenes to unfold slowly, Tarkovsky invites the audience to immerse themselves in the temporal flow of the film, experiencing time not as a linear progression, but as a fluid, malleable entity.

This treatment of time is closely linked to Tarkovsky’s exploration of memory and perception. In “Sculpting in Time,” he discusses how cinema can evoke the subjective experience of time, mirroring the way memories are recalled and perceived. His films often blur the lines between past and present, reality and dream, creating a tapestry of temporal layers that reflect the complexity of human consciousness. This non-linear approach to narrative structure enables Tarkovsky to probe the depths of the human psyche, uncovering the intricate interplay between time, memory, and identity.

Tarkovsky’s rhythm is not only about the duration of shots or the pacing of scenes, but also about the rhythm of life itself. He believes that true art must resonate with the natural rhythms of the world, capturing the essence of existence in its purest form. This is evident in his meticulous attention to detail, his use of natural settings, and his focus on the elemental aspects of life: water, fire, earth, and air. Through these elements, Tarkovsky creates a cinematic language that speaks to the fundamental aspects of the human experience, transcending cultural and temporal boundaries.

In “Sculpting in Time,” Tarkovsky emphasizes the importance of spiritual and philosophical inquiry as the cornerstone of meaningful art. He contends that cinema, like all authentic art forms, should serve as a medium for profound existential exploration rather than mere entertainment. For Tarkovsky, the filmmaker’s mission is to probe the mysteries of the human soul, to seek out the deeper truths that lie beneath the surface of everyday reality. This perspective is vividly reflected in his oeuvre, where the themes of faith, sacrifice, love, and mortality are meticulously intertwined with the fabric of his cinematic narratives.

Tarkovsky’s films often traverse the boundaries of the material and the metaphysical, blurring the lines between tangible reality and spiritual transcendence. He believes that the true essence of human existence cannot be fully grasped through rational thought alone but requires an engagement with the spiritual dimensions of life. In his works, symbols and metaphors abound, serving as conduits for this deeper inquiry. For instance, the journey in “Stalker” through the mysterious Zone becomes a pilgrimage of the soul, a quest for meaning and redemption. Similarly, in “Andrei Rublev,” the titular character’s struggles and artistic endeavors are portrayed as a testament to the enduring power of faith and spiritual resilience amidst the chaos of the material world.

Tarkovsky’s emphasis on spiritual and philosophical inquiry also manifests in his deliberate pacing and contemplative style. By allowing the viewer the time and space to reflect, he encourages a meditative engagement with the film. This reflective approach stands as a counterpoint to the often frantic pace of modern life and mainstream cinema, urging the audience to slow down and consider the larger questions of existence. The long, lingering shots and the deliberate unfolding of scenes function as an invitation to introspection, prompting viewers to look beyond the immediate and the visible, and to ponder the underlying spiritual truths that Tarkovsky seeks to illuminate.

In “Sculpting in Time,” Tarkovsky articulates a vision of cinema that is deeply humanistic and intrinsically linked to the quest for understanding our place in the universe. He views the artist as a seeker of truth, whose work should strive to elevate the human spirit and foster a deeper connection to the divine. This vision is not just a theoretical stance but is vividly embodied in Tarkovsky’s films, which stand as enduring monuments to his unwavering commitment to spiritual and philosophical inquiry. Through his unique manipulation of time and rhythm, Tarkovsky crafts a cinematic experience that transcends the ordinary, inviting viewers on a transformative journey into the heart of the human condition.