Results 81 to 90 of about 185 (132)
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Tarkovsky and the Strugatskii brothers
Science Fiction Film & Television, 2015This article recreates, step-by-step and in great detail, the story of turning Roadside Picnic into Stalker , from the first to the last version of the script by the Strugatskii brothers, in their painstakingly close collaboration with the director Andrei Tarkovsky. The article is partly based on archival sources and private correspondence, hitherto
Evgenii Tsymbal, Muireann Maguire
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Journal of Humanistic Psychology, 2011
Andrei Tarkovsky’s Mirror is a “stream-of-consciousness” film that eschews traditional narrative structure. The author interprets the film as having an “emotional structure,” insofar as it sequentially explores different manifestations of the experience of anxiety. Using the typology of anxiety developed by Paul Tillich in The Courage to Be, the author
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Andrei Tarkovsky’s Mirror is a “stream-of-consciousness” film that eschews traditional narrative structure. The author interprets the film as having an “emotional structure,” insofar as it sequentially explores different manifestations of the experience of anxiety. Using the typology of anxiety developed by Paul Tillich in The Courage to Be, the author
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2021
ÖZET Bu tez çalışmasında ünlü Rus/Sovyet yönetmen Andrei Tarkovski'nin filmleri etik ve estetik açıdan incelenmiştir. Çalışmanın birinci bölümü Tarkovski'nin karakterlerini ele alarak yönetmenin dünya görüşünü; ikinci bölümü ise Tarkovski'nin kuramsal çalışmalarını ve çalışma yöntemlerini inceleyerek sinemasal üslubunu ortaya koymaktadır.
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ÖZET Bu tez çalışmasında ünlü Rus/Sovyet yönetmen Andrei Tarkovski'nin filmleri etik ve estetik açıdan incelenmiştir. Çalışmanın birinci bölümü Tarkovski'nin karakterlerini ele alarak yönetmenin dünya görüşünü; ikinci bölümü ise Tarkovski'nin kuramsal çalışmalarını ve çalışma yöntemlerini inceleyerek sinemasal üslubunu ortaya koymaktadır.
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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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Carson-Tarkovski – Tarkovski-Carson
J'explore les correspondances entre le poète irlandais Ciaran Carson et la filmographie d'Andrei Tarkovsky. Après un récit anecdotique de Carson indiquant son appréciation du film Stalker de Tarkovsky, puis j'examine l'influence de la représentation de la Zone dans ce film sur l'imagination de Belfast par Carson. L'analyse porte sur la manière dont lesopenaire +1 more source
Brakhage’s Tarkovsky and Tarkovsky’s Brakhage: Collectivity, Subjectivity, and the Dream of Cinema
Canadian Journal of Film Studies, 2005Malgré leurs différences évidentes, les films de Stan Brakhage et Andrei Tarkovsky présentent d’importantes similitudes tant formelles que thématiques. Notre article tire son argument de l’hommage que Brakhage rendait à Tarkovsky au Festival du film de Telluride en 1983, dans lequel il affirmait que le grand artiste de cinéma doit raconter les ...
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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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Chicago Review, 2001
After the panel [at the 1983 Telluride Film Festival], they had arranged for Tarkovsky to see some of my films. I had warned Bill Pence that he might not like my films and I was nervous about showing them. All they could arrange, under the circumstances, was a little room in the old Sheridan Hotel. It was about 6' by 10' and it had in it a brass bed, a
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After the panel [at the 1983 Telluride Film Festival], they had arranged for Tarkovsky to see some of my films. I had warned Bill Pence that he might not like my films and I was nervous about showing them. All they could arrange, under the circumstances, was a little room in the old Sheridan Hotel. It was about 6' by 10' and it had in it a brass bed, a
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Film Quarterly, 1989
I t is widely acknowledged that Tarkovsky's films are suffused with what he refers to as an oneiric air-a dreamlike impact-which resists the audience's need to verify the logic, as well as the credibility, of the events presented on the screen. Especially in The Mirror (1975-78) and Stalker (1980), Tarkovsky succeeds in conveying daydreams about the ...
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I t is widely acknowledged that Tarkovsky's films are suffused with what he refers to as an oneiric air-a dreamlike impact-which resists the audience's need to verify the logic, as well as the credibility, of the events presented on the screen. Especially in The Mirror (1975-78) and Stalker (1980), Tarkovsky succeeds in conveying daydreams about the ...
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