The rhythm is not determined by the length of the sequences, but by the pressure of time passing through them. (Totaro 1992, 24) Time within the frame expresses something significant and true that goes beyond the events itself, received differently by each spectator. (Menard 2003) As Donato Totaro says, editing brings together sequences that are already filled with time.
A rhythm like a movement inside the frame (“sculpting in time”), not as a sequence of images in time. Rhythm is at the heart of the “poetic film”.
He considers cinema as a representation of distinctive currents or time waves, transmitted in the film through its internal rhythm. Tarkovsky opposed to the movie editing and considered that the basis of the art of cinematography (movie art) is the internal rhythm of images.
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