Download e-book for iPad: Andrei Tarkovsky (Pocket Essential series) by Sean Martin

By Sean Martin

Pocket Essentials is a dynamic sequence of books which are concise, full of life, and simple to learn. jam-packed with evidence in addition to professional evaluations, each one e-book has all of the key details you must learn about such renowned issues as movie, tv, cult fiction, historical past, and extra. as well as an advent to the topic, every one subject is separately analyzed and reviewed, interpreting its influence on tradition or historical past. there's additionally a reference part that lists comparable sites and weightier (and dearer) books at the topic. For media buffs, scholars, and inquiring minds, those are nice entry-level books that construct into a necessary library.

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Nostalgia and The Sacrifice both share a consistent use of colour, where black and white is used for dreams, memories and reveries, and colour for normal 46 Tarkovsky 14/11/05 10:54 am Page 47 A N D R E I TA R K OV S K Y waking reality. ) Stylistic Devices: Sound As with colour, Tarkovsky’s use of sound was aimed at attaining ‘truth’ over ‘realism’. His method for achieving this was to abstract certain sounds by not revealing their source (for example, the woman’s song in the first episode of Andrei Rublev, the whistle or recorder in Mirror,53 the passing trains in Stalker, the buzz saw in Nostalgia or the shepherdess’s calls to her flock in The Sacrifice).

Art and the Artist Tarkovsky’s love of painting recurs throughout his work. When his films show art – whether it’s Dürer’s Four Horsemen of the Apocalypse in Ivan’s Childhood, Breughel’s Hunters in the Snow in Solaris or Leonardo’s Adoration of the Magi in The Sacrifice – they are doing so for a number of reasons. Tarkovsky was acutely aware that cinema is a relatively young art form, and showing paintings in his films is an attempt to ennoble this young and frequently debased form. Paintings also serve to comment on the action or characters.

Tarkovsky, as would become his practice, had begun editing while shooting, and the first cut was screened at Mosfilm on 30 January 1962. He worked throughout the following month on fine-tuning and, on 3 March, the film was approved. Despite the fact that Bogomolov was still protesting about the dream sequences and what he felt were inconsistencies in the handling of military detail, Tarkovsky received praise for bringing the film in 24,000 Roubles under budget, and the film became something of a talking point at a seminar called ‘The Language of Cinema’, held at the Filmmakers’ Union later that month.

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