FILM 279 Lecture Notes - Lecture 6: French New Wave, Andrei Tarkovsky, Italian Neorealism

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New waves: new wave cinemas, new wave in sf literature. Similarly, montage theory, in its initial form, tends to subordinate perception and affect and action to ideas (or symbolic relations) Tarkovsky cannot accept the aesthetics of montage cinema, or of genre, or even of narrative cinema, because it imposes an indirect and artificial experience of time on cinema. Tarkovsky proposes to work directly with rhythm, with the pressure of time within shots. Tarkovsky cannot accept the montage cinema of sergei eisenstein, which he feels imposes an indirect and arti cial experience of time on cinema: Montage cinema" presents the audience with puzzles and riddles, makes them decipher symbols, wonder at allegories, appealing all the time to their intellectual experience (118) Tarkovsky also wants to counter the subordination of perception to action: The dominant, all-powerful factor of the lm is rhythm, expressing the course of time within the frame. He thus proposes to work directly with the pressure of time:

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