By Robert Bird
The masters of Russian arts and letters are a prestigious fraternity that incorporates such popular artists as Tolstoy, Rachmaninoff, and Shostakovich. yet along those luminaries stands a lesser-known yet both respected determine, filmmaker Andrei Tarkovsky. Robert poultry deals in Andrei Tarkovsky an unparalleled research of Tarkovsky’s oeuvre and its far-reaching impact on global cinema.
Bird brings a unique method of his dissection of Tarkovsky’s absolutely unique strategies and sensibilities, arranging the movies into elemental different types of Water, hearth, Earth, and Air. Solaris, Ivan’s Childhood, Mirror, Nostalgia, Andrei Rublev, and Sacrifice all get their due right here; via them, chook explores how the filmmaker probed the elusive correlation among cinematic illustration and a extra primeval notion of the area. notwithstanding the ebook additionally considers Tarkovsky’s paintings in radio, theatre, and opera—as good as his paintings as an actor, screenwriter, and picture theorist—Bird all through retains his concentration firmly on Tarkovsky as a consummate filmmaker. Anchored through a wealth of movie stills and pictures, Andrei Tarkovsky is a must-read for all movie buffs and admirers of eu cinema. (20070608)
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Additional info for Andrei Tarkovsky: Elements of Cinema
5 In short, the modemist dream of destroying the separation between stage and audience fostered a constant meditation about the nature of the separation and its bridging within the aesthetic event. Vsevolod Meyerhold in particular explored the possibility of a two-dimensional theatre that did not conceal, but explicitly called spectatOr attention to the necessity of mediation. Theatre theorist Alexander Bakshy suggested that Meyerhold's use of space shifted the emphasis from 'representa tion' ro 'presentation'.
U invite and even require the specraror ro fill in the gaps. What props 1 here arc, like Vi go's haystacks, must work as insensate material objects 1har resist our desire to allegorize or to turn the narrative into ritual. tch orher as forces of resistance. Throughout the opening and closing ,hors of /valls Childhood and Sacrifice rhe single most imporranr force 111 Ta rkovsky's construction of space is rhe motion of the camera. 111d for establishing the look of Tarkovsky's films. Tarkovsky had ori �inally wanted to team up with Sergei Urusevsky, best known for his work with MikiH1il Kalarozov on The Cranes Are rlying and I Atn Cuba, where the camera excctltcs sweeping movements and stages dramas of hghr and shadow in each frame.
Remarkably similar thoughts were expressed at the same rime by Sergei Eisenstein. 's The advocacy of variable spatiality was one means of exploiting the con ventions of cinematic presentation to suggest someth ing beyond visual . repre entanon. In hi own experimentation with screen shapes and conventions Ta rkovsky was implicitly engaging with this tradition of Russian stage and cinema aesthetics. Tarkovsky's first films show him to be a devout proponent of widescreen cinema, a format that for some is linked ro the triresr traditions of narrative cinema, in which the emphasis is wholly on the action or the l:tnd capes, not on formal composition.