ReFocus: the films of Andrei Tarkovsky

2021 ◽  
pp. 1-2
Author(s):  
Maria Belodubrovskaya
Keyword(s):  
Andrei Tarkovsky

About Andrei Tarkovsky

1992 ◽  
Vol 36 (2) ◽  
pp. 267
Author(s):  
Leo Hecht ◽  
Marina Tarkovskaya
Keyword(s):  
Andrei Tarkovsky

Tarkovsky, Andrei (1943–1986)

2018 ◽  
Author(s):  
Fouad Oveisy
Keyword(s):  
Optical Illusions ◽  
The Many ◽  
Andrei Tarkovsky

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 the plot as philosophical subtext; long takes, intricately choreographed, with many optical illusions; an insistence on reducing the role of color in order to enhance the "expressiveness" of the image (Johnson 188); and, finally, a spare cinematic score that is often mainly a "refrain" to accentuate emotional climaxes (Tarkovsky 158). Thematically, a number of key metaphysical, autobiographical, and historical motifs also recur in his films. The ethical crisis of the human in a universe devoid of humanistic faith; the playful authority of memory over subjectivity, the simultaneous and conflicting alterity and interiority of Nature, and the dilemma of the instrumentality of technology and reason to the capitalistic ratio exemplify some of his main concerns.

Lighting Boris Godunov with Andrei Tarkovsky

2010 ◽  
Vol 26 (1) ◽  
pp. 122-128
Author(s):  
R. Bryan
Keyword(s):  
Boris Godunov ◽  
Andrei Tarkovsky

Review: Solaris by Andrei Tarkovsky

1976 ◽  
Vol 29 (3) ◽  
pp. 54-58 ◽  
Author(s):  
Timothy Hyman
Keyword(s):  
Andrei Tarkovsky

The cinema of Andrei Tarkovsky

1988 ◽  
Vol 26 (02) ◽  
pp. 26-0842-26-0842
Keyword(s):  
Andrei Tarkovsky
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