Andrey Tarkovsky (1989) Sculpting in Time. Reflections on the Cinema. Translated from the Russian by Kitty Hunter-Blair, University of Texas Press.
My rating: *****
Publisher’s page. Includes table of contents and extract.
I want to underline my own belief that art must carry man’s craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist’s vision, the more clearly perhaps must we see the ideal that stands in opposition to it – otherwise life becomes impossible!
I have been reading Tarkovsky’s truly wonderful book in which he reflects on and explains the thinking that went into his films. If some of the language in the citation above, with its mention of the ideal, hope and faith appears old-fashioned to hardened veterans of the new millennium, it would appear nonetheless, as Tarkovsky argues, that life is still impossible without these things. Having recently viewed a TV series, Spirited, which after the long and careful establishing of two strong and independent characters with a positive control over their own existences, suddenly in the last three episodes, opts to turn them into the pathetic victims of a cruel and heartless universe, his remarks seem very apposite.
Faced in this case with what essentially appears to be a radical loss of faith and hope by the writers in their own creation, the consumer, who feels betrayed by this loss, is left wondering which way to turn. Perhaps this is the experience of many fan fiction writers. (Just to be specific, this is not an art form that I personally practise). And indeed not just fan fiction writers, but a whole range of other creative practitioners. They are forced into creating their own story to make up for the failure of other texts in providing the ideal they were hoping for. Thus in some instances, they might actively engage, as Tarkovsky would have it, in opposing the hopelessness of particular artistic visions.
One could take this further and argue that in Lyotard’s postmodern world, everybody is looking for the perfect story and when they don’t find one ready-made, they are forced to create their own. This applies as much to the most esoteric flight of theory as to the trashiest piece of fan fiction. It applies to a range of other practices as well – including the political, and right down to the way people tell themselves the story of their own lives. This desire to create one’s own story is, of course, by no means simply limited to the so-called postmodern age or culture. As many have argued, the desire to tell and to consume story is something deeply embedded in human experience. Story is not simply about diversion, bread and circuses, the mindless ‘entertainment’ much touted by Hollywood and its ilk. Story is about imagining better (or worse) worlds, of reflecting on our everyday and the possibilities of human experience, and experimenting with different ways of thinking those possibilities.