感受一句话的力量
True, Tarkovsky also added references to Russian literature. The characters in Solaris mention both Dostoevsky and Tolstoy, and Pushkin’s death-mask is prominently displayed both on earth and on the orbital, al
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Ofcourse,Eugenia’stemptationto‘surrendertotheinertia’ofnaturalflowsisinseparablefromherhystericalresistancetoit;thistensionisattheheartofallofTarkovsky’scharactersandevenhiscam
EachofTarkovsky’spoemspresentsasinglespacewithinwhichthreedetailsaresimultaneouslypresent.Moreover,notallofthelinescommunicatesingleimages;somedescribemotionorevensoundwithinthes
Afterdeclaringon10July1984hisintentiontoremainintheWest,Tarkovskyreceivedaprovocativeletterfromhisfather,promptinghimtoinsist:‘IwasandremainaSovietartist.’Whenchallengedonthe
The aural accompaniment adds a further level of thickness to these sequences, especially the second, which proceeds to the strains of Eduard Artem’ev’s electronic score and then to Arsenii Tarkovsky’s poem ‘Lif
The bounds of the director’s conception extend far beyond the autobiographical screenplay and shooting script, beyond even the specific memories and associations on which Tarkovsky based Mirror; the conception
One returns to the image of Otto and Alexander speaking through the glass door. It is easy enough to dismiss what Otto says about the mysterious photograph, the mystical terror of Leonardo’s canvas, or the idea
Tarkovskyhassometimesbeensuspectedofpursuingjustsuchanimpassive,alienviewontheworld.Inparticular,thereactionsofcinemaauthoritiestoMirrorsuggestthatthiswaspreciselythewaytheyread
Tarkovsky’smainconcernwastoreplaceBogomolov’smatter-of-factmannerwitha‘poetic’visualstyle.Poeticcinema,atleastforTarkovskyasthistime,meant‘exploding’thelogicalconnectionsbetweeneven
MuchoftheconfusioninthehistoryofMirrorstemsinacardinalshiftofemphasisthatoccurredduringthefilm’spreparation.ConceivedasafilmaboutTarkovsky’smother,iteventuallybecameanautobiogra
Formethereisnodifferencebetweenascience-fiction,anhistoricalandacontemporaryfilm.Ifitisdirectedbyanartist,thentheproblemsthatconcernthedirectorarethelegacyofthecurrentday,wha
TheparticularabilityofcinematoaddresstheimaginaryisevidentinTarkovsky’streatmentofphotographs.Intheprologueonearthweareshowntheblack-and-whitephotographofKelvin’smotherinaframeo
