Film Magistery #8: The Mirror/Tarkovsky’s Time Sculpting

Tarkovsky’s The Mirror is undoubtedly one of the true masterpieces in the magical world of cinema. In this episode Dino talks about Tarkovsky and his concept of the so-called Time Sculpting, which is here explored in his seminal work “The Mirror” (1975).

And no, there is no awkward impersonation of Tarkovsky’s Russian accent in this episode.

For more, visit the Film Magistery website.

LINKS:
The Mirror on IMDb.
The Mirror on Letterboxd.

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Music
Kevin MacLeod: Ghost Dance
Licensed under a Creative Commons Attribution License. Attribution 3.0 Unported (CC BY 3.0)

Freeda watch – SS36 Gran Turismo

Those who know me are well aware that I am mostly preoccupied with poetry, media and history. But not many people know that I am an avid horologophile, you know, a watch enthusiast.

I was always interested in the concept of time. It is not a mystery why I wrote a BA thesis on the film-maker Aleksei Tarkovsky and his concept of so-called ‘time scuplting’, which is especially materialized in his masterpiece The Mirror (1975). Even in my MA thesis I have briefly touched upon this theme.
This is also one of the areas I used most of time (pun unintended) when I write poetry, short stories or academic works. I guess, it is a logical thing that I am interested in watches, being small, sophisticated apparatuses trying to keep time. I am mostly interested in automatic watches, since their organic nature appeal mostly to me, but of course all started with a stylish Q&Q watch with blue dial I received by my father twenty five years ago, while we lived in the western Jutland. Since then, I was fascinated with the apparent complexity, machinery and the precision these objects (often) have.

Several days ago I stumbled on an interesting Italian run Kickstarter project called Freeda Vintage Watches. They are inspired by the style of the 1960s and renowned Dolce Vita. The team behind the project wishes to offer a new interpretation of luxury by reviving the concept of “sprezzatura”. According to Wikipedia, Sprezzatura is “an Italian word originating from Baldassare Castiglione’s The Book of the Courtier, where it is defined by the author as “a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it”. It is the ability of the courtier to display “an easy facility in accomplishing difficult actions which hides the conscious effort that went into them”.

What I really like about these watches, is the model SS36 Gran Turismo with wonderful combination of the green dial and yellow hands. Not to forget quality Italian leather straps. What drew me to this watch is an excellent color contrast, which makes it really easy to read time on this timepiece. Also, there will be used sapphire crystal with anti-scratch coating, which is a much better protection than regular mineral crystal. The movement could have been better (but also much more expensive), but Miyota 8215 is older, proven and reliable workhorse. It is non-hacking, but offers unidirectional hand-winding. Its power-reserve is approximately 42 hours.

I am looking forward to wear this watch, hopefully some time in November 2017. More about this project on their official website and Kickstarter.

SS36GT specifics:

  • Size (diameter/thickness): 40 mm / 7 mm
  • Case: 316L Stainless Steel, chromed
  • Back case: Transparent sapphire crystal with anti-scratch coating
  • Movement: Japanese Miyota Automatic Movement 8215
  • Date function: Yes @ 3:00 o’clock
  • Luminous hands and dial: Yes, photoluminescent lume
  • Water resistant: 10 ATM, 100 meters
  • Glass: Sapphire crystal with anti-scratch finish
  • Hands: Hours/minute hand size; 9.00 x 11.00 mm – Second hand size: 13.00 mm
  • Crown size: 5.00 mm
  • Strap: Genuine Italian leather
  • Strap size: 20 mm, best fit for 14 – 22 cm wrist
  • Available strap colours: Brown or black textured hole leather
  • Buckle: Stainless steel chromed buckle.

Nota 11: Balkanska dobrodošlica

Balkansko podneblje je decenijama bolesno podneblje. Samo tamo se prave javni skupovi podrške osuđenim ratnim zločincima. Zamislite se, podrške r-a-t-n-i-m zločincima! Razumijem da majka želi vidjeti svoga sina ratnog zločinca nakon odležane robije, ali da ga grupe ljudi žele dočekati i još ga hvaliti i uzdizati za nedjela iz ratne prošlosti i uz to mu svirati i pjevati, van je svake (normalne) pameti.

Na Balkanu je očigledno najbitnije da ne radiš zločine nad svojim narodom, a ako ubijaš, siluješ i mučiš one ‘poluljude’ iz drugih naroda, nemoj da se brineš, dočekat ćemo te kao borca junaka, čim završiš s odsluženjem svoje “nepravedno” dosuđene sudske presudbe. Ko god dočekuje svoje ratne zločince, ili se pravi da ne zna (nečovjek) ili nije normalan.
A ukoliko je taj zločinac učinio zločine u daljnoj prošlosti pa danas više nije živ, nema veze, na Balkanu imaju lijeka i za to. Prvo će mu dati ime ulicama i ustanovama (npr. Ul. Đenerala Draže Mihajlovića ili Ul. Srpske dobrovoljačke garde Željka Ražnjatovića Arkana, Avenija Radoslava Krstića, OŠ Biljane Plavšić, Ul. Jure Francetića itd.).

I na kraju mali podsjetnik; ratni zločini su npr.: ciljano ubijanje civila, izglađivanje civilnog stanovništva, ometanje dopreme humanitarne pomoći, masivna bombardiranja gradova, napadi na nezaštićene gradove, korištenje biološkog ili hemijskog oružja, ubijanje zarobljenika ili taoca, pljačke na zauzetim područjima, sistematske pljačke kulturnih dobara, genocid ili druga masovna ubistva (democid).
Ukratko, nemoj sve navedeno činiti svome Anti, Ismaru, Radovanu, Gazmendu ili Đukanu, i nisi ni muhu zgazio. Dobrodošao kući, junačino, rodila majka sina (ratnozločinačkog)!

La La Land

“La La Land” je bio jedan vrlo loš doživljaj, pa da krenemo u srž. Ja jednostavno ne podnosim mjuzikle, koji su, za mene, dno dna umjetničkog izražaja, a to nije uspio promijeniti ni režiserski wunderkind Damien Chazelle.

U prvoj sekvenci filma vidimo mnogobrojna auta na zakrčenom losanđelovskom autoputu u prometnoj špici (rush hour). I odjednom, ničim izazvani, vozači iskaču (neki bukvalno) iz svojih auta i počinju plesati i pjevati u tipičnom mjuzikalnom maniru, držući se za ruke, marionetski pokreti… happy faces. Nakon tog iznenadnog holivudskog kola, svi se lijepo vratiše u auta i nastaviše čamiti čekajući i pritiskati sirene.

E sada dolazi možda i do objašnjenja za ono “dno dna”. Mjuzikl je po svojoj prirodi, tako daleko odstranjen od stvarnosti, tj. prekriven je slatko upakovanim i aranžiranim audio-vizuelnim stimulansima, koji imaju upravo za cilj da nas eskapističkim projektilom ispale u svijet snova, bajke i neispunjenih želja. I kao takav, žanr filmskog mjuzikla je dosta manje bliže stvarnosti ove naše male planete, nego npr. filmovi poput Aliens ili Prometheus. Međutim, pozamašna distanca od stvarnosti nije preduslov da jedan film ili cijeli žanr bude loš. Naprotiv. Ono što, po meni, tipičan mjuzikl čini negledljivim je ekstravagancija nevjerodostojnog i glupog ponašanja uloga u dijegetskom svijetu filma, npr. pjevanje vozača, a bilo bi prikladnije i bliže realnosti da jedni drugima vade glave iz vratova u takvoj situaciji kada imamo kolone auta od nekoliko kilometara i kalifornijsko sunce.
Osim toga, sama ideja da konverzacija među ljudima bude konstruisana uz pjesmu i muziku mi se uvijek doimala imbecilnom. Zamislite samo mjuzikl izvedbu jedne tipične bosanske konverzacije, recimo, pet drugova dok gledaju fidbalsku utakmicu ili diskutuju politiku.

Ipak, ima jedna dobra stvar u ovome filmu, a to je da mi je pomogao da konačno uvidim da glumački dijapazon Ryana Goslinga odgovara gotovo u potpunosti onom osakaćenom drvetu kruške, koje se nalazi u bašti moje vikendice.

I džaba mu vrlo ugodno kinematografsko pakovanje, vrlo jasan Chazellov režiserski talenat i interesantni muzički izbori, kada konstrukcija i zbir svih faktora daje uvijek identičan, prepoznatljiv (i vrlo predvidljiv) rezultat, koji krasi gotovo svaki mjuzikl, pa tako i “La La Land”.

An Orient

So I treated myself with a new watch. It is an entry-level Orient watch, and it is an automatic. My first automatic, and I love how organic it feels.
Orient is one of not many watchmaking companies that do every part of their timepieces in-house.

Data:

ref: FEM7L007W9
– movement: automatic
– case material: stainless steel
– dial colour: white
– bezel material: stainless steel
– bezel function: fixed bezel
– glass material: hardened mineral glass
– water resistance: 5 atm water-resistant according to DIN standard 8310
– other functions: day display / date display
– bracelet material: leather
– bracelet colour: black
– bracelet locking clasp: buckle
– specifics: illuminated hands

dimensions:

– case calibre: 42 mm
– case height: 13 mm
– bracelet length: for wrists up to 21 centimetre (1 cm or 10 mm = 0,39 inches) circumference
– web width: 22 mm
– weight: approx 92 grams (1 gram = 0,035 oz)

Orient_EM7L_K5e (manual)