By Peter Green
A survey of the paintings of Andrei Tarkovsky, the Russian film-maker who lived from 1932-1986. it's a severe exam of his movies within the gentle of his personal writings and lifestyles, his aesthetics of movie, his idea of time in cinematography and an try and understand his imaginative and prescient. the movies which are tested are: "Ivan's Childhood", "The Mirror" and "Andrei Rublyov". The ebook is to be released at the anniversary of Tarkovsky's start in April 1992.
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Additional resources for Andrei Tarkovsky: The Winding Quest
Often in the form of parables, his stories allow audiences to take up the debate in their own terms and draw personally meaningful conclusions. Ultimate truth, Tarkovsky argued, is not accessibleY Tarkovsky's colour code often provides useful information in this respect. But in Solaris, his first full-length colour film, it is still in its inceptive stage and provides only a tentative guide. Where used to distinguish between the general narrative and the film-within-film passages (in black and white) its use is clear.
By the time Kelvin arrives and views it on the giant monitor, his former mentor has taken his life. Gibarian's resurrection on the screen is denied by his lifeless body lying under a plastic sheet in the refrigeration room. Kelvin's filmed record of home is like the little tin of earth with the living flower by the window in the space station. Souvenir and recollection of another time, it returns him for a moment to his childhood, when his mother was young. The technique of reproducing time within time through film-in film was not Tarkovsky's invention.
The theme of the painting parallels the exiled astronauts' nostalgia for home. After the memory of youth, in which one sees a little boy standing on a hill in the snow - an image that recurs in the autobiographical The Mirror - the film cuts to Harey. She wakes as if from a work reverie and apologises for having been wrapped in thought. This interweaving of Chris Kelvin's and Harey' s memories leads into what may be seen as the consummation of their new relationship. Heralding the 30 seconds of weightlessness that Snaut had previ ously announced, due to a manoeuvre of the space station, the glass chandelier begins to tremble; a book floats past in the air, and one sees Kelvin and Harey embracing, hovering above the ground in one of the most expressive sequences of the film, a sequence that antici- 72 Andrei Tarkovsky pates the moments of levitation in The Mirror and The Sacrifice.
Andrei Tarkovsky: The Winding Quest by Peter Green