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Books > Arts & Architecture > Performing arts > Films, cinema > Individual film directors, film-makers
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Andrei Tarkovsky (Paperback, 3 New Edition)
Loot Price: R512
Discovery Miles 5 120
You Save: R63
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Andrei Tarkovsky (Paperback, 3 New Edition)
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List price R575
Loot Price R512
Discovery Miles 5 120
You Save R63 (11%)
Expected to ship within 9 - 15 working days
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Andrei Tarkovsky is the most celebrated Russian filmmaker since
Eisenstein, and one of the most important directors to have emerged
during the 1960s and 70s. Although he made only seven features,
each one was a major landmark in cinema, the most well-known of
them being the mediaeval epic Andrei Rublev - widely regarded as
one of the greatest films of all time - and the autobiographical
Mirror, set during the Russia of Stalin's purges in the 1930s and
the years of stagnation under Brezhnev. Both films landed Tarkovsky
in considerable trouble with the authorities, and he gained a
reputation for being a tortured - and ultimately martyred -
filmmaker. Despite the harshness of the conditions under which he
worked, Tarkovsky built up a remarkable body of work. He burst upon
the international scene in 1962 with his debut feature Ivan's
Childhood, which won the Golden Lion at Venice and immediately
established him as a major filmmaker. During the 1970s, he made two
classic ventures into science-fiction, Solaris, regarded at the
time as being the Soviet reply to Kubrick's 2001: A Space Odyssey
and later remade by Steven Soderbergh, and Stalker, which was
thought to have predicted the Chernobyl disaster. Harassed at home,
Tarkovsky went into exile and made his last two films in the West,
where he also published his classic work of film and artistic
theory, Sculpting in Time. Since his death in Paris in 1986, his
reputation continued - and continues - to grow. Sean Martin
considers the whole of Tarkovsky's oeuvre, from the classic student
film The Steamroller and the Violin, across the full-length films,
to the later stage works and Tarkovsky's writings, paintings and
photographs. Martin also seeks to demystify Tarkovsky as a
'difficult' director, whilst also celebrating his radical aesthetic
of long takes and tracking shots, which Tarkovsky was to dub
'imprinted' or 'sculpted' time, and to make a case for Tarkovsky's
position not just as an important filmmaker, but also as an artist
who speaks directly about the most important spiritual issues of
our time.
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