Download e-book for kindle: Andrei Tarkovsky: Elements of Cinema by Robert Bird

By Robert Bird

ISBN-10: 1861893426

ISBN-13: 9781861893420

The masters of Russian arts and letters are a prestigious fraternity that incorporates such well known artists as Tolstoy, Rachmaninoff, and Shostakovich. yet along those luminaries stands a lesser-known yet both respected determine, filmmaker Andrei Tarkovsky. Robert chook bargains in Andrei Tarkovsky an unheard of research of Tarkovsky’s oeuvre and its far-reaching impact on global cinema.
Bird brings a unique method of his dissection of Tarkovsky’s entirely unique thoughts and sensibilities, arranging the flicks into elemental different types of Water, hearth, Earth, and Air. Solaris, Ivan’s Childhood, Mirror, Nostalgia, Andrei Rublev, and Sacrifice all get their due the following; via them, poultry explores how the filmmaker probed the elusive correlation among cinematic illustration and a extra primeval belief of the realm. even though the booklet additionally considers Tarkovsky’s paintings in radio, theatre, and opera—as good as his paintings as an actor, screenwriter, and movie theorist—Bird all through retains his concentration firmly on Tarkovsky as a consummate filmmaker. Anchored through a wealth of movie stills and images, Andrei Tarkovsky is a must-read for all movie buffs and admirers of ecu cinema. (20070608)

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Extra resources for Andrei Tarkovsky: Elements of Cinema

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I ion i much more pronounced in the original edit of the film from 1966, enrided TIJe Pc1ssion according to Andrei. Here, as Efim's collaborator turns around ro fnce the camera ar the end of the first shot, we immedi­ ately see and hear rhe crowd chasing Efim. The implication is rhar the first man has heard the commotion and is looking in our direction to idenrify irs ource. Howe,·er, thi apparent connection is actually impossible hecau e thc crowd io, roo disranr ro be audihle, nor docs ir eventually arrive on the scene from this direction.

However, his very next film, Stalker, features just such a collapse of the fourth wall, when the Stalker's wife addresses her monologue directly to the camera. Instead of seeking to conceal the screen or pass it over as 'reality', Tarkovsky is constantly playing with its mediation - not to overcome the separation between actor and audi­ ence, or between fiction and rea lity, but to transform their interrelation. As Ocleuze has written, the screen is 'the cerebral membrane where immediate and direct confrontations take place between the past and the furure [ .

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Andrei Tarkovsky: Elements of Cinema by Robert Bird

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