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2013
Andrei Tarkovsky (b. 1932–d. 1986) was the most important director in postwar Soviet art cinema and one of the most influential auteurs in world cinema of the 1960s–1980s. After completing several student films, most notably Steamroller and Violin (1960), Tarkovsky leapt to prominence in 1962 with his first feature, Ivan’s Childhood, which won the ...
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Andrei Tarkovsky (b. 1932–d. 1986) was the most important director in postwar Soviet art cinema and one of the most influential auteurs in world cinema of the 1960s–1980s. After completing several student films, most notably Steamroller and Violin (1960), Tarkovsky leapt to prominence in 1962 with his first feature, Ivan’s Childhood, which won the ...
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1994
The definitive study of the great filmmaker, set in the context of Russian cultural history.
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The definitive study of the great filmmaker, set in the context of Russian cultural history.
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ReFocus: The Films of Andrei Tarkovsky
2020Despite an output of only 7 feature films in 20 years, Andrei Tarkovsky has had a profound influence on international cinema. Famous for their spiritual depth and incredible visual beauty, his films have gained cult status among cineastes and are often included in ranking polls and charts dedicated to the best movies ever made.
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Andrei Tarkovsky as Reader of Arsenii Tarkovsky's Poetry in the Film Mirror
Russian Studies in Literature, 2004(2004). Andrei Tarkovsky as Reader of Arsenii Tarkovsky's Poetry in the Film Mirror. Russian Studies in Literature: Vol. 40, No. 3, pp. 46-63.
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2018
The cinema of Andrei Tarkovsky stands at the zenith of high-modernist cinema. Amongst the many technical achievements that characterize Tarkovsky’s total art approach to cinema, a few stand out: the fragmented and free floating diegeses of his films, which often defy the teleology of metanarratives; a wide array of poetry and paintings, grafted onto ...
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The cinema of Andrei Tarkovsky stands at the zenith of high-modernist cinema. Amongst the many technical achievements that characterize Tarkovsky’s total art approach to cinema, a few stand out: the fragmented and free floating diegeses of his films, which often defy the teleology of metanarratives; a wide array of poetry and paintings, grafted onto ...
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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 poetic cinema of Andrei Tarkovsky
2005Hailed by Bergman as "one of the most important film directors of our time" Andrei Tarkovsky truly invented a "new language" in film. In the paper the author shows, in the example of Andrei's autobiographical film "The Mirror", the influence of his father Arseniy's poetry on the "rhythm" and "language" of Andrei's film making.
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The Science–Fiction Films of Andrei Tarkovsky
Science Fiction Studies, 1987Tarkovsky is the Soviet director responsible for two masterpieces of SE film: Solaris (1972), based on the book of the same title by Lem, and Stalker (1980), adapted from the Strugatsky brothers’ Roadside Picnic. Working primarily in terms of images, Tarkovsky organizes these films (like his previous ones) around a bipolarity: between Solaris and the ...
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