Synopses & Reviews
THE SACRED CINEMA OF ANDREI TARKOVSKY
A major new study of Russian filmmaker Andrei Tarkovsky (1932-1986), director of seven feature films, including Mirror, Andrei Roublyov, Solaris and The Sacrifice. ?This book explores every aspect of Andrei Tarkovsky's output in the most detailed fashion - including scripts, budget, production, shooting, editing, camera, sound, music, acting, themes, symbols, motifs, and spirituality. Tarkovsky's films are analyzed in depth, with scene-by-scene discussions.
This is an important addition to film studies, the most painstaking study of Andrei Tarkovsky's work available.
Contains 150 illustrations, of Tarkovsky's films, Tarkovsky at work, his contemporaries, and his favourite painters.
Andrei Tarkovsky is one of the most fascinating of filmmakers. He is supremely romantic, an old-fashioned, traditional artist - at home in the company Leonardo da Vinci, Pieter Brueghel, Aleksandr Pushkin, Fyodor Dostoievsky and Byzantine icon painters. Tarkovsky is a magician, no question, but argues for demystification (even while films celebrate mystery). His films are full of magical events, dreams, memory sequences, multiple viewpoints, multiple time zones and bizarre occurrences.
As genre films, Andrei Tarkovsky's movies are some of the most accomplished in cinema. As science fiction films, Stalker and Solaris have no superiors, and very few peers. Only the greatest sci-fi films can match them: Metropolis, King Kong, Close Encounters of the Third Kind and 2001: A Space Odyssey. Tarkovsky happily and methodically rewrote the rules of the sci-fi genre: Stalker and Solaris are definitely not routine genre outings. They don't have the monsters, the aliens, the visual effects, the battles, the laser guns, the stunts and action set-pieces of regular science fiction movies.
No one could deny that Andrei Roublyov is one of the greatest historical films to explore the Middle Ages, up there with The Seventh Seal, El Cid, The Navigator and Pier Paolo Pasolini's 'Life' trilogy. If you judge Andrei Roublyov in terms of historical accuracy, epic spectacle, serious themes, or cinematic poetry, it comes out at the top. Finally, in the religious film genre, The Sacrifice and Nostalghia are among the finest in cinema, the equals of the best of Ingmar Bergman, Luis Bunuel, Robert Bresson and Carl-Theodor Dreyer.
Synopsis
A major new study of Russian filmmaker Andrei Tarkovsky (1932-1986), director of seven feature films, including Mirror, Andrei Roublyov, Solarisand The Sacrifice. Exploring every aspect of Andrei Tarkovskys output, including scripts, budget, production, shooting, editing, camera, sound, music, acting, themes, motifs, and spirituality. His films are analyzed in depth, with scene-by-scene discussions. This is an important addition to film studies, the most detailed study of Tarkovsky's work available. It contains 150 illustrations, of Tarkovskys films, Tarkovsky at work, his contemporaries, and his favourite painters. Jeremy Robinson's books include Glorification: Religious Abstraction in Renaissance and 20th Century Art (1990), Arthur Rimbaud (1992), Lawrence Durrell (1995) and Detonation Britain: Nuclear War in the UK (1997). He edits two magazines, Passion and Pagan America (a journal of American poetry).
Synopsis
THE SACRED CINEMA OF ANDREI TARKOVSKYBy Jeremy Robinson
A major new study of Russian filmmaker Andrei Tarkovsky (1932-1986), director of seven feature films, including Mirror, Andrei Rublev, Solaris and The Sacrifice.
This book explores every aspect of Andrei Tarkovsky's output in the most detailed fashion - including scripts, budget, production, shooting, editing, camera, sound, music, acting, themes, symbols, motifs, and spirituality. Tarkovsky's films are analyzed in depth, with scene-by-scene discussions.
This is an important addition to film studies, the most painstaking study of Andrei Tarkovsky's work available.
Andrei Tarkovsky is one of the most fascinating of filmmakers. He is supremely romantic, an old-fashioned, traditional artist - at home in the company Leonardo da Vinci, Pieter Brueghel, Aleksandr Pushkin, Fyodor Dostoievsky and Byzantine icon painters. Tarkovsky is a magician, no question, but argues for demystification (even while films celebrate mystery). His films are full of magical events, dreams, memory sequences, multiple viewpoints, multiple time zones and bizarre occurrences.
As genre films, Andrei Tarkovsky's movies are some of the most accomplished in cinema. As science fiction films, Stalker and Solaris have no superiors, and very few peers. Only the greatest sci-fi films can match them: Metropolis, King Kong, Close Encounters of the Third Kind and 2001: A Space Odyssey. Tarkovsky happily and methodically rewrote the rules of the sci-fi genre: Stalker and Solaris are definitely not routine genre outings. They don't have the monsters, the aliens, the visual effects, the battles, the laser guns, the stunts and action set-pieces of regular science fiction movies.
No one could deny that Andrei Rublev is one of the greatest historical films to explore the Middle Ages, up there with The Seventh Seal, El Cid, The Navigator and Pier Paolo Pasolini's 'Life' trilogy. If you judge Andrei Rublev in terms of historical accuracy, epic spectacle, serious themes, or cinematic poetry, it comes out at the top. Finally, in the religious film genre, The Sacrifice and Nostalghia are among the finest in cinema, the equals of the best of Ingmar Bergman, Luis Bunuel, Robert Bresson and Carl-Theodor Dreyer.
Contains 150 illustrations, of Andrei Tarkovsky's films, Tarkovsky at work, his contemporaries, and his favourite painters. This edition has 23 new pages of illustrations.
Bibliography, filmographies and notes. Illustrated. 696pp.
www.crmoon.com
REVIEW:
Robinson's book on the sacred cinema of Tarkovsky is one of the best on the subject.
Professor Prakash Kona, English and Foreign Languages University