A concise study of the work of the most celebrated Russian filmmaker since Eisenstein, and one of the most important directors to have emerged during the 1960s and 1970sConsidering the whole of Tarkovsky's oeuvre, this book covers everything 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. This study seeks to demystify Tarkovsky as a "difficult" director, while 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 his position not just as an important filmmaker, but also as an artist who speaks directly about the most important spiritual issues of our time. Although he made only seven features, each one was a major landmark in cinema. Since his death in Paris in 1986, his reputation continues to grow.
A concise study of the work of the most celebrated Russian filmmaker since Eisenstein, and one of the most important directors to have emerged during the 1960s and 1970sConsidering the whole of Tarkovsky's oeuvre, this book covers everything 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. This study seeks to demystify Tarkovsky as a "difficult" director, while 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 his position not just as an important filmmaker, but also as an artist who speaks directly about the most important spiritual issues of our time. Although he made only seven features, each one was a major landmark in cinema. Since his death in Paris in 1986, his reputation continues to grow.
