Get Andrei Tarkovsky (Pocket Essential series) PDF

By Sean Martin

ISBN-10: 1904048498

ISBN-13: 9781904048497

Pocket Essentials is a dynamic sequence of books which are concise, full of life, and simple to learn. full of evidence in addition to professional critiques, each one publication has the entire key details you must learn about such renowned themes as movie, tv, cult fiction, heritage, and extra. as well as an creation to the topic, each one subject is separately analyzed and reviewed, studying its impression on tradition or heritage. 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 an important library.

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Sample text

The role of the adults in the film is likewise autobiographical. Sasha’s mother is remote, being mainly shown reflected in a mirror, and then only briefly, perhaps echoing the reported aloofness of Tarkovsky’s own mother. ’ But if Sasha’s mother is remote, then his father is even more so: he does not appear on-screen at any time, nor is mention made of him in the film. In his place is the steamroller driver, Sergei, whom Sasha looks up to after Sergei saves him from being bullied by the gang of kids who live in Sasha’s building.

Production History Ivan’s Childhood, or Ivan as it was initially called, began shooting in the autumn of 1960, under the direction of Eduard Abalov, a director and actor of Tarkovsky’s generation. However, the material shot was deemed unsatisfactory and the production had closed down by the end of the year. Abalov’s footage was written off, with Mosfilm seeking a new director. On 16 June 1961,Tarkovsky was confirmed as the new director; he was asked to submit his shooting script by the end of the month.

Steamroller also anticipates the aesthetic that he would develop in numerous articles and interviews before it achieved its final 57 Tarkovsky 14/11/05 10:54 am Page 58 S E A N M A RT I N written form in his book, Sculpting in Time. Tarkovsky was clearly ambitious with the film: it was twice as long as the average VGIK short, running at 46 minutes, and it was in colour. Although the film marks the beginning of his collaboration with cameraman Vadim Yusov, that was largely due to the fact that Tarkovsky failed to get star cinematographer Sergei Urusevsky, who had shot Kalatozov’s The Cranes are Flying.

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