In Greek mythology, the Sirens were dangerous and beautiful creatures, portrayed as femme fatales who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands called Sirenum scopuli. In some later, rationalized traditions, the literal geography of the “flowery” island of Anthemoessa, or Anthemusa, is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae. All such locations were surrounded by cliffs and rocks.
When the Sirens were given a name of their own they were considered the daughters of the river god Achelous, fathered upon Terpsichore, Melpomene, Sterope, or Chthon. Although they lured mariners, for the Greeks the Sirens in their “meadow starred with flowers” were not sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys. Sirens are found in many Greek stories, particularly in Homer’s Odyssey.
According to Ovid, the Sirens were the companions of young Persephone and were given wings by Demeter to search for Persephone when she was abducted. However, the Fabulae of Hyginus has Demeter cursing the Sirens for failing to intervene in the abduction of Persephone.
The Sirens might be called the Muses of the lower world, Walter Copland Perry observed: “Their song, though irresistibly sweet, was no less sad than sweet, and lapped both body and soul in a fatal lethargy, the forerunner of death and corruption.” Their song is continually calling on Persephone. The term “siren song” refers to an appeal that is hard to resist but that, if heeded, will lead to a bad conclusion. Later writers have implied that the Sirens were anthropophagous, based on Circe’s description of them “lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones.” As Jane Ellen Harrison notes of “The Ker as siren:” “It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh.”
“They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future,” Harrison observed. “Their song takes effect at midday, in a windless calm. The end of that song is death.” That the sailors’ flesh is rotting away, though, would suggest it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to feed for their visitors, who starved to death by refusing to leave.
According to Hyginus, sirens were fated to live only until the mortals who heard their songs were able to pass by them.
A group of Anglican nuns travel to a remote location in the Himalayas (the Palace of Mopu, near Darjeeling) to set up a school and hospital for the local people, only to find themselves increasingly seduced by the sensuality of their surroundings in a converted seraglio high up in the mountains, and by the local British agent Mr Dean (David Farrar). Clodagh (Deborah Kerr), the Sister Superior, is attempting to forget a failed romance at home in Ireland. Tensions mount as Dean’s laid-back charm makes an impression on Clodagh, but also attracts the mentally unstable Sister Ruth (Kathleen Byron), who becomes pathologically jealous of Clodagh, resulting in a nervous breakdown and a violent climax. In a subplot, ‘the Young General’ (Sabu), heir to the throne of a princely Indian state who has come to the convent for his education, becomes infatuated with Kanchi, a lower caste dancing girl (Jean Simmons).
Black Narcissus achieved acclaim for its pioneering technical mastery and shocked audiences at the time of release with its vibrant colour and the themes of the film. Audiences gasped at some of the scenes, notably the shot of the vibrant pink flowers, which shown on the big screen was a spectacle at the time. The film’s clever use of lighting and techniques have had a profound impact on later film makers, notably Martin Scorsese who used the extreme close ups technique of the nuns for Tom Cruise’s character around the pool table in Color of Money. Martin Scorsese has said that the film is one of the earliest erotic films, in the last quarter of the film in particular, which caused controversy given its Roman Catholic content. The film was one of his favourites as a boy, and Scorsese has stated that one of the greatest experiences he has had with film is viewing Black Narcissus projected on a massive screen at the Director’s Guild in 1983. In Michael Powell’s own view this was the most erotic film he ever made. “It is all done by suggestion, but eroticism is in every frame and image from beginning to end. It is a film full of wonderful performances and passion just below the surface, which finally, at the end of the film, erupts”.
The story concerns a quiet insurance agent and Vietnam War veteran named Bobby Thompson (Tim O’Kelly) who murders his young wife, his mother and a grocery delivery boy at home and then initiates an afternoon shooting rampage from atop a Los Angeles area oil refinery. Several motorists and passengers are wounded or killed on the nearby freeway. When the police respond and start to close in on him he flees and resumes his shootings at a Reseda drive-in theater where an aging horror film icon, Byron Orlok (Boris Karloff) is making a final promotional appearance before retirement. Orlok slaps the murderer into submission and the police arrive and affect an arrest. Thompson wonders aloud about the exact number of victims.
“The Swimmer” a short story by American author John Cheever, was originally published in The New Yorker on July 18, 1964, and then in the 1964 short story collection, The Brigadier and the Golf Widow. Originally conceived as a novel and pared down from over 150 pages of notes, it is probably Cheever’s most famous and frequently anthologized story. At one point Cheever wanted to parallel the tale of Narcissus, a character in Greek mythology who died while staring at his own reflection in a pool of water, which Cheever dismissed as too restrictive. As published, the story is highly praised for its blend of realism and surrealism, the thematic exploration of suburban America, especially the relationship between wealth and happiness, as well as his use of myth and symbolism.
In 1968, “The Swimmer” was adapted into a film with the same name, starring Burt Lancaster.
The story begins with Neddy Merrill and his wife lounging at a friend’s pool on a mid-summer’s day. On a whim, Neddy decides to get home by swimming across all the pools in the county, and starts off enthusiastically and full of youthful energy. In the early stops on his journey, he is enthusiastically greeted by friends, who welcome him with drinks. It is readily apparent that he is well-regarded and from an upper-class social standing.
Midway through his journey, things gradually take on a darker and ultimately surreal tone. Despite everything taking place over just one afternoon, it becomes unclear how much time has passed. At the beginning of the story, it was clearly mid-summer, but by the end all natural signs point to the season being autumn. Different people Neddy encounters mention misfortune and money troubles he doesn’t remember, and he is outright unwelcome at several houses which should’ve certainly been beneath him. His earlier, youthful energy leaves him, and it becomes increasingly painful and difficult for him to swim on. Finally, he staggers back home, only to find his house decrepit, empty, and abandoned.
“Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar?”
Rhapsody: A Dream Novel, also known as Dream Story, (original German title: Traumnovelle) is a 1926 novella by the Austrian writer Arthur Schnitzler. The book deals with the thoughts and psychological transformations of Doctor Fridolin over a two-day period after his wife confesses having had sexual fantasies involving another man. In this short time, he meets many people who give a clue to the world Schnitzler is creating for us. This culminates in the masquerade ball, a wondrous event of masked individualism, sex, and danger for Fridolin the outsider.
It was first published in instalments in the magazine Die Dame between December 1925 and March 1926. The first book edition appeared in 1926 in S. Fischer Verlag and was adapted in 1999 into the film Eyes Wide Shut by director, screenwriter Stanley Kubrick and co-screenwriter Frederic Raphael.
The book belongs to the period of Viennese decadence after the turn of the 20th century.
L’Age d’or, The Golden Age (1930) is a French surrealist comedy directed by Luis Buñuel about the insanities of modern life, the hypocrisy of the sexual mores of bourgeois society and the value system of the Roman Catholic Church. The screenplay is by Salvador Dalí and Buñuel. It was one of the first sound films made in France.
In a series of thematically-linked vignettes, a couple’s attempts at a fulfilling and consummated romantic relationship are continually thwarted by the bourgeois values and sexual mores of Family, Church, and Society. In the course of seeking sexual release and satisfaction, the woman sublimates her sexual passion by fellating the toe of a religious statue.
The final vignette is an allusion to the Marquis de Sade’s novel 120 Days of Sodom; the intertitle reads: 120 Days of Depraved Acts, about an orgy in a castle, wherein the surviving orgiasts are ready to emerge to the light of mainstream society. From the castle door emerges the bearded and berobed Duc de Blangis (a character from de Sade’s novel) who greatly resembles Jesus, the Christ, who comforts a young woman who has run out from the castle, before he takes her back inside. Afterwards, a woman’s scream is heard, and only the Duc re-emerges; and he is beardless. The concluding image is a crucifix festooned with the scalps of women; to the accompaniment of jovial music, the scalps sway in the wind.
While the goal of all movies is to entertain, the kind of film in which I believe goes one step further. It compels the spectator to examine one facet or another of his own conscience. It stimulates thought and sets the mental juices flowing.
Cube is a 1997 Canadian science fiction psychological horror film, directed by Vincenzo Natali. The film was a successful product of the Canadian Film Centre’s First Feature Project.
The movie received a cult status for its surreal, Kafkaesque settings; it is set in identical cube-like rooms (hence the name) with each room being a different color (white, blue, green, amber and red), and no background story is revealed for the characters or the reason they were left in the Cube. The film also doesn’t demonstrate any clear plot regarding the Cube’s background, creation, purpose and its location. The timeframe of the story is also left unknown.
In order to respect the concept of Christian Marclay’s work, viewers should kindly play the above video starting at 0.04 pm, local time. If that time is passed, please wait for tomorrow or another day same time. Thank you.
The Clock is an art installation by video artist Christian Marclay (born 1955). It is in effect a clock, but it is made of a 24-hour montage of thousands of time-related scenes from movies and some TV shows, meticulously edited to be shown in “real time”: each scene contains an indication of time (for instance, a timepiece, or a piece of dialogue) that is synchronized to show the actual time. The Clock debuted at London’s White Cube gallery in 2010.
The film incorporates classic scenes such as Gary Cooper in High Noon, Woody Allen in Mighty Aphrodite at 2.59, Peter Fonda in Easy Rider at 11:40, and Patrick Macnee as John Steed looking at his elegant pocket watch at 12.05 in The Avengers.
“This race is like a war. Nobody knows if they are going to return”.
The 24 Hours of Le Mans is the world’s oldest active sports car race in endurance racing, held annually since 1923 near the town of Le Mans, France. Commonly known as the Grand Prix of Endurance and Efficiency, race teams have to balance speed against the cars’ ability to run for 24 hours without sustaining mechanical damage to the car and manage the cars’ consumables, primarily fuel, tyres and braking materials. The endurance of the drivers is likewise tested as drivers frequently spend stints of over two hours behind the wheel before stopping in the pits and allowing a relief driver to take over the driving duties. Drivers then grab what food and rest they can before returning to drive another stint. Today it is mandated that three drivers share each competing vehicle.
The race is organised by the Automobile Club de l’Ouest (ACO) and runs on the Circuit de la Sarthe, a circuit containing a mix of closed public roads and specialist motor racing circuit that are meant not only to test a car and driver’s ability to be quick, but also to last over a 24 hour period. The competing teams will race in groups called classes for cars of similar specification while at the same time competing for outright placing amongst all of the classes. Originally, the race was held for cars as they were sold to the general public which were then called Sports Cars compared to the specialist racing cars used in Grands Prix. Over time, the competing vehicles evolved away from their publicly available road car roots and today, the race is made of two classes specialised enclosed-bodywork two-seat Prototype sports cars and two classes of Grand Touring cars which bear much closer resemblance to high performance sports cars as sold to the public.
Competing teams have had a wide variety of organisation, ranging from competition departments of road car manufacturers who are eager to prove the supremacy of their products, to professional motor racing teams who represent their commercial backers, some of which are also road car manufacturers attempting to win without the expense of setting up their own teams, to amateur race teams, racing as much to compete in the famous race as to claim victory for their commercial partners.
The race is held near the height of the European summer in June, leading at times to very hot weather conditions for the drivers, particularly in closed roof vehicles whose cabins can heat up to uncomfortably hot temperatures with generally poor ventilation; rain, however, is not uncommon. The race begins in mid-afternoon, racing through the night and following morning before finishing at the same time the race started, the following day. Over the 24 hour period modern competitors will complete race distances well over 5,000 km (3,110 mi). The present record is 5,410 km (3,360 mi), recorded in the 2010 race. It is a distance over six times longer than the Indianapolis 500, or approximately 18 times longer than a Formula One Grand Prix.
Peeping Tom is a 1960 British thriller film directed by Michael Powell and written by the World War II cryptographer and polymath Leo Marks. The title derives from the slang expression ‘peeping Tom’ describing a voyeur. The film revolves around a serial killer who murders women while using a portable movie camera to record their dying expressions of terror.
The film’s controversial subject and the extremely harsh reception by critics effectively destroyed Powell’s career as a director in the United Kingdom. However, it attracted a cult following, and in later years, it has been re-evaluated and is now considered a masterpiece.
It was a dark and stormy night; the rain fell in torrents—except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.
Popeye the Sailor is a cartoon fictional character created by Elzie Crisler Segar, who has appeared in comic strips and animated cartoons in the cinema as well as on television. He first appeared in the daily King Features comic strip Thimble Theatre on January 17, 1929. Popeye also became the strip’s title in later years.
Although Segar’s Thimble Theatre strip was in its tenth year when Popeye made his debut in 1929, the sailor quickly became the main focus of the strip and Thimble Theatre became one of King Features’ most popular properties during the 1930s. Thimble Theatre was continued after Segar’s death in 1938 by several writers and artists, most notably Segar’s assistant Bud Sagendorf. The strip, now titled Popeye, continues to appear in first-run installments in its Sunday edition, written and drawn by Hy Eisman. The daily strips are reprints of old Sagendorf stories.
In 1933, Max and Dave Fleischer’s Fleischer Studios adapted the Thimble Theatre characters into a series of Popeye the Sailor theatrical cartoon shorts for Paramount Pictures. These cartoons proved to be among the most popular of the 1930s, and the Fleischers—and later Paramount’s own Famous Studios—continued production through 1957. The cartoons are now owned by Turner Entertainment, a subsidiary of Time Warner, and distributed by sister company Warner Bros. Entertainment.
Over the years, Popeye has also appeared in comic books, television cartoons, arcade and video games, hundreds of advertisements and peripheral products, and a 1980 live-action film directed by Robert Altman starring comedian Robin Williams as Popeye.
The Last Detail is a 1973 American comedy-drama film directed by Hal Ashby and starring Jack Nicholson, with a screenplay adapted by Robert Towne from a novel of the same name by Daryl Ponicsan. The film became known for its frequent use of profanity. It was nominated for three Academy Awards.
Stationed in Norfolk, Virginia, U.S. Navy sailors, Billy “Badass” Buddusky (Jack Nicholson) and “Mule” Mulhall (Otis Young) are assigned shore patrol detail to escort young sailor Larry Meadows (Randy Quaid) to Portsmouth Naval Prison near Portsmouth, New Hampshire. Meadows has drawn a stiff eight-year sentence for a petty crime: trying to steal $40 from a mite box of the C.O.’s wife’s favorite charity. During their train trip up the northeast corridor, the oddly likeable Meadows begins to grow on the two Navy “lifers”; they know the grim reality of the Marine guards at Portsmouth, and feel sorry he’ll miss his youth serving his sentence. They decide to show him a good time before delivering him to the brig.
With several days to spare before they are due in Portsmouth, the trio detrains at the major cities along the route to provide bon-voyage adventures for Meadows. In Washington they take him to a bar to have a beer, but are denied because Meadows is too young. Buddusky gets a few six packs and a hotel room, and the three get drunk. In Philadelphia they seek out Meadows’s mother, only to find her away for the day and the house cluttered with empty whiskey bottles. In New York, they take him ice skating at Rockefeller Center and then in Boston, to a brothel to lose his virginity. In between, they brawl with Marines in a public restroom, dine on “the world’s finest” Italian sausage sandwich, chant with Nichiren Shōshū Buddhists and open intimate windows for each other in swaying train coaches. Meadows pronounces his several days with Badass and Mule to be the best of his whole life.
When they finally arrive in frozen Portsmouth, Meadows has a final request – a picnic – so they buy some hot dogs and attempt a frigid picnic in the crunching snow. Docile Meadows walks along the park, seemingly ready to head to prison. He suddenly bolts, though, in a last-ditch effort to run away. Buddusky runs after him, catches him, and pistol-whips him fiercely. Mulhall and Buddusky then brusquely take Meadows to the prison, execute the Navy paperwork, and after being released from their detail, they stride away angrily, berating the marines they have encountered at the prison – and about how hopefully their orders will come through when they get back to Norfolk.
HAL 9000 is a character in Arthur C. Clarke’s science fiction Space Odyssey saga. The primary antagonist in 2001: A Space Odyssey, HAL (Heuristically programmed ALgorithmic computer) is an artificial intelligence that controls the systems of the Discovery One spacecraft and interacts with the ship’s astronaut crew. Being a computer, HAL has no distinct physical form, though is visually represented as a red television-camera eye located on equipment panels throughout the ship. HAL is voiced by Douglas Rain in the two film adaptations of the Space Odyssey saga, and speaks in a soft, calm voice and a conversational manner, in contrast to the crewmen, David Bowman and Frank Poole, who speak tersely and with little emotional inflection. HAL became operational on 12 January 1992, at the HAL Laboratories in Urbana, Illinois, as production number 3; in the film 2001 the activation year was 1992, and 1991 in earlier screenplays. In addition to maintaining the Discovery One spacecraft systems during the interplanetary mission to Jupiter, HAL is capable of speech, speech recognition, facial recognition, natural language processing, lip reading, art appreciation, interpreting and reproducing emotional behaviours, reasoning, and playing chess.
BioShock is set during 1960, in Rapture, a fictional underwater dystopian city; its history is revealed to the player through in-game audio recordings scattered throughout the game.
Rapture was envisioned by the Objectivist business magnate Andrew Ryan as a laissez-faire utopia for society’s cultural and scientific elite to avoid the oppression of government and religion. He secretly funded its construction on the mid-Atlantic, utilizing submarine volcanoes to provide geothermal power, and Rapture was completed by 1946. Despite Ryan’s attempts, a seedier side of Rapture formed, led by businessman and gangster Frank Fontaine, who secretly managed to maintain a black market for goods to and from the surface. Scientific progress flourished within Rapture after the discovery of a new form of sea slug by Dr. Brigid Tenenbaum; stem cells from the slugs could be used to create “ADAM”, a plasmid that altered its user’s DNA and would grant him super-human powers like telekinesis and pyrokinesis. An industry for plasmids was created by Tenenbaum and Fontaine. To meet the growing demand, Tenenbaum devised a means for the sea slugs to be embedded in the stomachs of young girls from Fontaine’s orphanages, named Little Sisters, producing large quantities of ADAM.
As plasmid use grew, a class division arose. Fontaine launched a war against Ryan using an army of plasmid-enhanced soldiers, but was apparently killed in the fight. Ryan seized Fontaine’s assets, including the plasmid industry. Some months later, a new figurehead for the lower class arose, going by the name of Atlas. Atlas’s forces attacked Ryan’s industries to steal the ADAM and Little Sisters. To fight against this, Ryan ordered the creation of “Big Daddies”, plasmid-enhanced humans contained in giant diving suits conditioned to protect the Little Sisters as they scavenged for ADAM.
Ultimately a complete breakdown of Rapture’s society occurred on New Year’s Eve of 1959 (about one year before the player in the game arrives at Rapture). Atlas launched a full-fledged attack on Ryan’s forces; Ryan in turn was forced to create his own plasmid-enhanced soldiers, nicknamed Splicers, controlled by pheromones in Rapture’s atmosphere. The resulting war left few survivors. Those that remained alive barricaded themselves in isolated areas of Rapture, while the remains of the Splicer armies, having become deranged over time due to heavy ADAM use, wander Rapture looking for more ADAM to consume, which the Little Sisters continue to harvest from corpses.
Let Him Have It, is a 1991 British film, which was based on the true story of the case against Derek Bentley, who was hanged for murder under controversial circumstances on 28 January 1953. While Bentley did not directly play a role in the murder of PC Sidney Miles, he received the greater punishment than the gunman (who was below the age of 18). It stars Christopher Eccleston as Bentley, with Paul Reynolds, Tom Courtenay and Tom Bell and was directed by Peter Medak.
The title of the film is taken from Bentley’s alleged cry of “Let him have it, Chris!” shortly before Christopher Craig shot and wounded the first policeman on the scene. Crown prosecutors suggested that Bentley meant “Go ahead and shoot him,” whilst Frank Cassells for the defence argued that he meant “Give him the gun” (and thus, surrender).
Craig was sentenced to gaol “at Her Majesty’s pleasure”, and spent ten years there. He has been a law abiding citizen ever since.
Derek Bentley’s father bought an expensive bottle of wine in 1958 to celebrate their victory should Derek be proved innocent. However, Bentley’s parents never got to drink it. His father William Bentley died on 12 July 1974 and his mother died on 10 October 1976.
The film’s end titles state that Bentley’s sister, Iris, was still fighting for his pardon, however seven years after the film was made and after numerous unsuccessful campaigns to get Derek Bentley a full pardon, his conviction was quashed by the Court of Appeal on 30 July 1998. However, Bentley’s sister had also died by this point.
Some quotes from the film, ‘Being There’.
[Riding in a car for the first time]
Chance the Gardener: This is just like television, only you can see much further.
[upon walking out of an elevator]
Chance the Gardener: That was a very small room.
Ron Steigler: Mr. Gardner, uh, my editors and I have been wondering if you would consider writing a book for us, something about your um, political philosophy, what do you say?
Chance the Gardener: I can’t write.
Ron Steigler: Heh, heh, of course not, who can nowadays? Listen, I have trouble writing a postcard to my children. Look uhh, we can give you a six figure advance, I’ll provide you with the very best ghost-writer, proof-readers…
Chance the Gardener: I can’t read.
Ron Steigler: Of course you can’t! No one has the time! We, we glance at things, we watch television…
Chance the Gardener: I like to watch TV.
Ron Steigler: Oh, oh, oh sure you do. No one reads!
[With other poor black seniors, watching Chance on TV]
Louise: It’s for sure a white man’s world in America. Look here: I raised that boy since he was the size of a piss-ant. And I’ll say right now, he never learned to read and write. No, sir. Had no brains at all. Was stuffed with rice pudding between th’ ears. Shortchanged by the Lord, and dumb as a jackass. Look at him now! Yes, sir, all you’ve gotta be is white in America, to get whatever you want. Gobbledy-gook!
President “Bobby”: Life is a state of mind.
Fahrenheit 451 is a 1953 dystopian novel by Ray Bradbury. The novel presents a future American society where books are outlawed and firemen burn any house that contains them.
The novel has been the subject of various interpretations, primarily focusing on the historical role of book burning in suppressing dissenting ideas. Bradbury has stated that the novel is not about censorship, but a story about how television destroys interest in reading literature, which leads to a perception of knowledge as being composed of factoids, partial information devoid of context.
François Truffaut wrote and directed a film adaptation of the novel in 1966. At least two BBC Radio 4 dramatisations have also been aired, both of which follow the book very closely.
The book’s title refers to the temperature that Bradbury understood to be the autoignition point of book paper.
Four Atlanta businessmen, Lewis (Burt Reynolds), Ed (Jon Voight), Bobby (Ned Beatty) and Drew (Ronny Cox), decide to canoe down a river in the remote North Georgian wilderness, expecting to have fun and see the glory of nature before the fictional Cahulawassee River valley is flooded by the construction of a dam. Lewis, an experienced outdoorsman, is the leader. Ed is also a veteran of several trips but lacks Lewis’s machismo. Bobby and Drew are novices.
The four are clearly the outsiders in this rural location. The crude locals are unimpressed by the “city boys”; it is also implied that some of the locals are inbred and educationally subnormal. While attempting to secure drivers for their vehicles (to be delivered to the takeout point), Drew briefly connects with a local banjo-playing boy by joining him in an impromptu bluegrass jam by playing Dueling Banjos. When they finish, however, the boy turns away without saying anything, refusing the effusive Drew’s handshake. The four men exhibit a slightly condescending attitude toward the locals; Bobby, in particular, is very patronizing and even derides the locals to his companions for seeming to display genetic defects.
Sculpting In Time (Russian “Запечатлённое время”, literally “Depicted Time”) is a book by Russian filmmaker Andrei Tarkovsky about art and cinema in general, and his own films in particular. It was originally published in 1986 in German shortly before the author’s death, and published in English in 1987, translated by Kitty Hunter-Blair. The title refers to Tarkovsky’s own name for his style of filmmaking.
The book’s main statement about the nature of cinema is summarized in the statement, “The dominant, all-powerful factor of the film image is rhythm, expressing the course of time within the frame.” Tarkovsky describes his own distaste for the growing popularity of rapid-cut editing and other devices that he believes to be contrary to the true artistic nature of the cinema.
The book contains a great deal of poems by the filmmaker’s father Arseny Alexandrovich Tarkovsky along with a fair amount of Tarkovsky’s personal writings on his life and work, lectures and discussions during making of Andrei Rublyov with a film history student named Olga Surkova, who later became a professional critic and helped in writing of this book. The book has commentary on each of his 7 major feature films, and his complex relationship with the Soviet Union. The final chapter, a discussion of his film The Sacrifice, was dictated in the last weeks of his life.