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Attempting to convey the cultural milieu from which Tarkovsky comes, the author of this book, a Russian film critic, had personally known Tarkovsky since the very beginning of his career. She has had access to the archives of Mosfilm Studios where the early drafts and notes on his films are kept.

Andrey Tarkovsky was the most important Russian filmmaker of the post-war era, and one of the world’s most renowned cinematic geniuses. He directed the first five of his seven films – Ivan’s Childhood, Andrei Rublev, Solaris, Mirror and Stalker – in the Soviet Union, but in 1982 defected to Italy, where he made Nostalgia. His final film, The Sacrifice, was produced in Sweden in 1985. Tarkovsky’s films are characterized by metaphysical themes, extended takes, an absence of conventional dramatical structure and plot, and a dream-like, visionary style of cinematography. They achieve a spiritual intensity and transcendent beauty that many consider to be without parallel. This book presents extended sequences of stills from each of the films alongside synopses and cast and crew listings. It includes reflections on Tarkovsky’s work from fellow artists and writers including Jean-Paul Sartre and Ingmar Bergman, for whom Tarkovsky was ‘the greatest, the one who invented a new language.’ Extracts from Tarkovsky’s own writings and diaries offer a wealth of insights into his poetic and philosophical views on cinematography, which he described as ‘sculpting in time’. The book also reproduces many personal Polaroid photographs that confirm the extraordinary poetic vision of a great artist who died aged only 54, but who remains a potent influence on artists and filmmakers today. Table of ContentsEssay by Andrei Tarkovsky Jr: The Closed Time · A Tarkovsky Biography · An Introductionto the Films by H. J. Schlegel · Essays on Tarkovsky · Private Photos and Polaroids: Russia

Attempting to convey the cultural milieu from which Tarkovsky comes, the author of this book, a Russian film critic, had personally known Tarkovsky since the very beginning of his career. She has had access to the archives of Mosfilm Studios where the early drafts and notes on his films are kept.

Andrey Tarkovsky was the most important Russian filmmaker of the post-war era, and one of the world’s most renowned cinematic geniuses. He directed the first five of his seven films – Ivan’s Childhood, Andrei Rublev, Solaris, Mirror and Stalker – in the Soviet Union, but in 1982 defected to Italy, where he made Nostalgia. His final film, The Sacrifice, was produced in Sweden in 1985. Tarkovsky’s films are characterized by metaphysical themes, extended takes, an absence of conventional dramatical structure and plot, and a dream-like, visionary style of cinematography. They achieve a spiritual intensity and transcendent beauty that many consider to be without parallel. This book presents extended sequences of stills from each of the films alongside synopses and cast and crew listings. It includes reflections on Tarkovsky’s work from fellow artists and writers including Jean-Paul Sartre and Ingmar Bergman, for whom Tarkovsky was ‘the greatest, the one who invented a new language.’ Extracts from Tarkovsky’s own writings and diaries offer a wealth of insights into his poetic and philosophical views on cinematography, which he described as ‘sculpting in time’. The book also reproduces many personal Polaroid photographs that confirm the extraordinary poetic vision of a great artist who died aged only 54, but who remains a potent influence on artists and filmmakers today. Table of ContentsEssay by Andrei Tarkovsky Jr: The Closed Time · A Tarkovsky Biography · An Introductionto the Films by H. J. Schlegel · Essays on Tarkovsky · Private Photos and Polaroids: Russia

The masters of Russian arts and letters are a prestigious fraternity that includes such renowned artists as Tolstoy, Rachmaninoff, and Shostakovich. But alongside these luminaries stands a lesser-known but equally revered figure, filmmaker Andrei Tarkovsky. Robert Bird offers in Andrei Tarkovsky an unprecedented investigation of Tarkovsky’s oeuvre and its far-reaching influence on world cinema.Bird brings a novel approach to his dissection of Tarkovsky’s wholly original techniques and sensibilities, arranging the films into elemental categories of Water, Fire, Earth, and Air. Solaris, Ivan’s Childhood, Mirror, Nostalgia, Andrei Rublev, and Sacrifice all get their due here; through them, Bird explores how the filmmaker probed the elusive correlation between cinematic representation and a more primeval perception of the world. Though the book also considers Tarkovsky’s work in radio, theatre, and opera—as well as his work as an actor, screenwriter, and film theorist—Bird throughout keeps his focus firmly on Tarkovsky as a consummate filmmaker. Anchored by a wealth of film stills and photographs, Andrei Tarkovsky is a must-read for all film buffs and admirers of European cinema.

Andrei Tarkovsky (1932-1986) was one of Russia's most influential and renowned filmmakers, despite an output of only seven feature films in twenty years. Revered by such filmmaking giants as Ingmar Bergman and Akira Kurosawa, Tarkovsky is famous for his use of long takes, languid pacing, dreamlike metaphorical imagery, and meditations on spirituality and the human soul. His Andrei Roublev, Solaris, and The Mirror are considered landmarks of postwar Russian cinema.Andrei Tarkovsky: Interviews is the first English-language collection of interviews with and profiles of the filmmaker. It includes conversations originally published in French, Italian, Russian, and British periodicals. With pieces from 1962 through 1986, the collection spans the breadth of Tarkovsky's career. In the volume, Tarkovsky candidly and articulately discusses the difficulties of making films under the censors of the Soviet Union. He explores his aesthetic ideology, filmmakers he admires, and his eventual self-exile from Russia. He talks about recurring images in his movies--water, horses, fire, snow--but adamantly refuses to divulge what they mean, as he feels that would impose his own meaning onto the audience. At times cagey and resistant to interviewers, Tarkovsky nevertheless reveals his vision and his rigorous devotion to his art.

With luscious film stills and superb essays by the director and his admirers, this is the essential Tarkovsky compendiumBetween 1962 and 1986, Andrey Tarkovsky (1932–86) directed seven feature-length films, all acclaimed as masterpieces of cinema: Ivan’s Childhood, Andrei Rublev, Solaris, Mirror, Stalker, Nostalgia and Sacrifice. Evading censorship and mounting pressure by Soviet authorities, Tarkovsky decided not to return to the Soviet Union after completing Nostalgia in Tuscany, three years before his death; his final film, Sacrifice, was shot in Sweden in 1985.This new smaller-format edition of a 2012 publication was compiled and edited by Tarkovsky's son Andrey Jr., along with film historian and critic Hans-Joachim Schlegel and Lothar Schirmer. Beautifully designed and printed, Andrey Tarkovsky: Life and Work pays homage to a great visionary who produced poetic and sometimes disturbing images of near biblical intensity through his films. Featuring stills from each of his films, a selection of his influential writings, private photographs from the family album, as well as Polaroids from Russia and Italy, it is buttressed with comments from prominent voices who have commented on Tarkovsky's work and personality, including Jean-Paul Sartre, Ingmar Bergman and Aleksandr Sokurov.

An elegiac collection of sixty Polaroid photographs by the late Soviet film director Andrei Tarkovsky."Tarkovsky often reflected on the way that time flies and wanted to stop it, even with these quick Polaroid shots. The melancholy of seeing things for the last time is the highly mysterious and poetic essence that these images leave with us. It is as though Andrei wanted to transmit his own enjoyment quickly to others. And they feel like a fond farewell."Tonino Guerra, from the Introduction This beautifully produced book comprises sixty Polaroid photographs of Andrei Tarkovsky's friends and family, taken between 1979 and 1984 in his native Russia and in Italy, where he spent time in political exile.The size of the Polaroids is exactly as presented in the book, including the frame. The book may therefore be viewed as a facsimile edition. 60 color illustrations.

Johnson and Petrie have produced an admirable book. Anyone who wants to make sense of Tarkovsky’s films―a very difficult task in any case―must read it." ―The Russian ReviewThis book is a model of contextual and textual analysis.... the Tarkovsky myth is stripped of many of its shibboleths and the thematic structure and coherence of his work is revealed in a fresh and stimulating manner." ―Europe-Asia Studies[This book,] with its wealth of new research and critical insight, has set the standard and should certainly inspire other writers to keep on trying to collectively explore the possible meanings of Tarkovsky’s film world." ―Canadian Journal of Film StudiesFor Tarkovsky lovers as well as haters, this is an essential book. It might make even the haters reconsider." ―CineasteThis definitive study, set in the context of Russian cultural history, throws new light on one of the greatest―and most misunderstood―filmmakers of the past three decades. The text is enhanced by more than 60 frame enlargements from the films.

The masters of Russian arts and letters are a prestigious fraternity that includes such renowned artists as Tolstoy, Rachmaninoff, and Shostakovich. But alongside these luminaries stands a lesser-known but equally revered figure, filmmaker Andrei Tarkovsky. Robert Bird offers in Andrei Tarkovsky an unprecedented investigation of Tarkovsky’s oeuvre and its far-reaching influence on world cinema.Bird brings a novel approach to his dissection of Tarkovsky’s wholly original techniques and sensibilities, arranging the films into elemental categories of Water, Fire, Earth, and Air. Solaris, Ivan’s Childhood, Mirror, Nostalgia, Andrei Rublev, and Sacrifice all get their due here; through them, Bird explores how the filmmaker probed the elusive correlation between cinematic representation and a more primeval perception of the world. Though the book also considers Tarkovsky’s work in radio, theatre, and opera—as well as his work as an actor, screenwriter, and film theorist—Bird throughout keeps his focus firmly on Tarkovsky as a consummate filmmaker. Anchored by a wealth of film stills and photographs, Andrei Tarkovsky is a must-read for all film buffs and admirers of European cinema.

Andrey Tarkovsky (1932-1986) is one of the eminent film makers of the 20th century. The five feature films he directed in the Soviet Union-among them Andrei Rublev, Solaris, and Stalker-brought him international fame. Evading censorship and mounting pressure by Soviet authorities, he did not return to the Soviet Union after completing Nostalghia in Tuscany in 1983. His final film, The Sacrifice, was shot in Sweden in 1985. Compiled and edited by Tarkovsky's son Andrey Jr., film historian and critic Hans-Joachim Schlegel, and Lothar Schirmer, our book pays homage to a great visionary who though in poetic and, at times, disturbing images of near-biblical intensity. It features stills and documentary photos from each of his films, a rich selection of Tarkovsky's own writings, private photographs from the family album, as well as Polaroids from Russia and Italy. A compilation of prominent voices who have commented on Tarkovsky's work and personality-including Jean-Paul Sartre, Ingmar Bergman, and Aleksandr Sokurov-rounds out the volume.

With luscious film stills and superb essays by the director and his admirers, this is the essential Tarkovsky compendiumBetween 1962 and 1986, Andrey Tarkovsky (1932–86) directed seven feature-length films, all acclaimed as masterpieces of cinema: Ivan’s Childhood, Andrei Rublev, Solaris, Mirror, Stalker, Nostalgia and Sacrifice. Evading censorship and mounting pressure by Soviet authorities, Tarkovsky decided not to return to the Soviet Union after completing Nostalgia in Tuscany, three years before his death; his final film, Sacrifice, was shot in Sweden in 1985.This new smaller-format edition of a 2012 publication was compiled and edited by Tarkovsky's son Andrey Jr., along with film historian and critic Hans-Joachim Schlegel and Lothar Schirmer. Beautifully designed and printed, Andrey Tarkovsky: Life and Work pays homage to a great visionary who produced poetic and sometimes disturbing images of near biblical intensity through his films. Featuring stills from each of his films, a selection of his influential writings, private photographs from the family album, as well as Polaroids from Russia and Italy, it is buttressed with comments from prominent voices who have commented on Tarkovsky's work and personality, including Jean-Paul Sartre, Ingmar Bergman and Aleksandr Sokurov.

May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 2.11

Andrei Tarkovsky's death at the end of 1986 robbed the cinema of a major director, perhaps the most original and certainly the most controversial film-maker to emerge from the Soviet Union. Mark Le Fanu's book is the first study of Tarkovsky in English, illuminating many of the questions posed by Tarkovsky's densely textured cinema.

An elegiac collection of sixty Polaroid photographs by the late Soviet film director Andrei Tarkovsky."Tarkovsky often reflected on the way that time flies and wanted to stop it, even with these quick Polaroid shots. The melancholy of seeing things for the last time is the highly mysterious and poetic essence that these images leave with us. It is as though Andrei wanted to transmit his own enjoyment quickly to others. And they feel like a fond farewell."Tonino Guerra, from the Introduction This beautifully produced book comprises sixty Polaroid photographs of Andrei Tarkovsky's friends and family, taken between 1979 and 1984 in his native Russia and in Italy, where he spent time in political exile.The size of the Polaroids is exactly as presented in the book, including the frame. The book may therefore be viewed as a facsimile edition. 60 color illustrations.

Andrey Tarkovsky, the genius of modern Russian cinema—hailed by Ingmar Bergman as "the most important director of our time"—died an exile in Paris in December 1986. In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films—Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre—most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

Andrei Tarkovsky's death at the end of 1986 robbed the cinema of a major director, perhaps the most original and certainly the most controversial film-maker to emerge from the Soviet Union. Mark Le Fanu's book is the first study of Tarkovsky in English, illuminating many of the questions posed by Tarkovsky's densely textured cinema.

Unread book in perfect condition.

2013 Russian pressing. Soundtrack music from two films by the late Russian filmmaker Andrey Tarkovsky. Mirumir.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.7