Results 51 to 60 of about 89 (74)
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2020
This chapter discusses Tarkovsky’s appreciation of newsreel-documentary films in the context of the Soviet film discourse over new documentary style in the 1960s. As Mandušić demonstrates, the sixties’ cult of authenticity achieved through the documentary representation of reality was one of many ways for the Thaw cinema to counter late Stalinist ...
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This chapter discusses Tarkovsky’s appreciation of newsreel-documentary films in the context of the Soviet film discourse over new documentary style in the 1960s. As Mandušić demonstrates, the sixties’ cult of authenticity achieved through the documentary representation of reality was one of many ways for the Thaw cinema to counter late Stalinist ...
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Andrei Rublev: Transcendental Style and the Creative Vision
Journal of Popular Film and Television, 2007(2007). Andrei Rublev: Transcendental Style and the Creative Vision. Journal of Popular Film and Television: Vol. 35, No. 2, pp. 86-93.
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‘In Good Company’: Dispersal and Gathering in Murdoch’s The Bell and Tarkowsky’s Andrei Rublev
Iris Murdoch todayTaylor Andrew
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Philosophical Analysis of Andrey Tarkovsky’s Film “Andrey Rublev”
Almanac “Essays on Conservatism”The article aims to conduct a philosophical study of A. Tarkovsky’s cinematic utterance in the fi lm “Andrey Rubdev”, to identify the semantic structure of the fi lm, to show the movement of the director’s thought and at the same time the semantic gaps arising along this path, as well as to analyze the criticism regarding the fi lm.
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The Sound Art in Tarkovsky’sAndrei Rublev. Sound Ambiguities amid Visual Certainties
Quarterly Review of Film and Video, 2020One of the aspects that most contributes to the narration of spirituality in the films of Andrei Tarkovsky (Zavrazhye, Russia, 1932 - Paris, France, 1986) is his particular use of sound.1 Although ...
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2016
Die letzte der acht "Novellen" des Films "Andrej Rublev" trägt den Titel "Die Glocke" ("Kolokol"). Hier bricht Rublev sein Schweigegelübde, um dem erschöpften jungen Glockengießer Boriska Trost zu spenden. Sobald Boriskas Glocke beginnt zu tönen, d. h. der Glockenschwengel (russ.
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Die letzte der acht "Novellen" des Films "Andrej Rublev" trägt den Titel "Die Glocke" ("Kolokol"). Hier bricht Rublev sein Schweigegelübde, um dem erschöpften jungen Glockengießer Boriska Trost zu spenden. Sobald Boriskas Glocke beginnt zu tönen, d. h. der Glockenschwengel (russ.
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Andrey Rublev: The Artist and his World by Robin Milner-Gulland (review)
Slavonic and East European Review, 2023openaire +1 more source
Tarkovsky Sinemasında Sanat ve Mâneviyat İlişkisi: Andrey Rublev Üzerine Bir İnceleme
2017Sanatile mâneviyatarasında felsefî,psikolojik,sosyolojik ve etik bakımdan çok sıkı bir ilişki mevcuttur. Bu ilişkiedebiyat, tiyatro ve felsefe alanlarında olduğu gibi sinemada da ele alınankonulardan biridir. Sinemada sanat ile mâneviyat üzerinde duran en önemliyönetmenlerin başında Andrey Tarkovsky gelmektedir. Tarkovsky, 1966’da çektiği Andrey Rublev
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