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Abstract
The aim of the article is to formulate the philosophical approaches to the interpretation of the long take as an aesthetic tool in the cinema of Andrei Tarkovsky. The problematic of the study lies in the possibility of a more comprehensive analysis of the long take as an aesthetic and philosophical tool in his work. It looks especially important to consider this cinematographic technique as a practice endowed with various philosophical meanings. It seems that this will potentially enrich both existing studies of long takes and the analysis of Tarkovsky’s films. The relevance of the article is due to the revival in contemporary cinema of interest in contemplative aesthetics and long takes as a counterweight to the clip editing of mass cinema (which is associated with the phenomenon of “Slow cinema”), as well as the fact that Tarkovsky’s legacy continues to have a significant influence on world cinema. The results of the study demonstrate that the long take in the works of A. Tarkovsky represents a special aesthetic and philosophical practice. Based on the material of his films, the relationship between the duration of shots and the ontological, existential and phenomenological aspects of the film language is revealed. It is substantiated that the long take can be considered as a means of “photographic authenticity” of cinema and enhancing realism; this activates the work of thinking and memory of the viewer, forming the basis for his/her independent interpretations of what s/he saw. Also, the long take can be considered as a way of involving the viewer as a participant in the sensory experience of the film, going beyond the direct narration. In addition, it becomes an instrument that allows time to manifest itself in its natural flow, creating conditions for understanding its ontological nature. The long take contributes to the erasure of the boundaries between the real and the imaginary and the disclosure of the transcendental, and it also forms the conditions for an ethical dialogue with the viewer. The work is addressed to film scholars, philosophers, cultural researchers, and a wider audience interested in cinema and its philosophical aspects.
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