Andrei Tarkovsky

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Andrei Tarkovsky
Andrei Tarkovsky.jpg
Born Andrei Arsenyevich Tarkovsky
(1932-04-04)4 April 1932
Zavrazhye, Russian SFSR, Soviet Union
Died 29 December 1986(1986-12-29) (aged 54)
Paris, France
Occupation Film director
Years active 1958–86
Spouse(s) Irma Raush (1957–70)
Larisa Kizilova (1970–86)

Andrei Arsenyevich Tarkovsky (Russian: Андре́й Арсе́ньевич Тарко́вский; IPA: [ɐnˈdrʲej ɐrˈsʲenʲjɪvʲɪt͡ɕ tɐrˈkofskʲɪj]; 4 April 1932 – 29 December 1986) was a Soviet and Russian film-maker, writer, film editor, film theorist, theatre and opera director.

Tarkovsky's films include Ivan's Childhood, Andrei Rublev, Solaris, The Mirror, and Stalker. He directed the first five of his seven feature films in the Soviet Union; his last two films, Nostalghia and The Sacrifice, were produced in Italy and Sweden, respectively. His work is characterized by spirituality and metaphysical themes, long takes, lack of conventional dramatic structure, and distinctively authored use of cinematography. He is widely regarded as one of the greatest film-makers of all time. Ingmar Bergman said of Tarkovsky:

"Tarkovsky for me is the greatest (director), the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." [1]


Life[edit]

Childhood and early life[edit]

Tarkovsky was born in the village of Zavrazhye in the Yuryevetsky District of the Ivanovo Industrial Oblast to poet and translator Arseny Alexandrovich Tarkovsky, native of Kirovohrad, Ukraine; and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute. Andrei's grandfather Aleksander Tarkowski was a Polish nobleman who worked as a bank clerk.

Tarkovsky spent his childhood in Yuryevets.[2] He was described by childhood friends as active and popular, having many friends and being typically in the center of action. In 1937, his father left the family, subsequently volunteering for the army in 1941. Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press. In 1939, Tarkovsky enrolled at the Moscow School № 554. During the war, the three evacuated to Yuryevets, living with his maternal grandmother. In 1943, the family returned to Moscow. Tarkovsky continued his studies at his old school, where the poet Andrey Voznesensky was one of his class-mates. He studied piano at a music school and attended classes at an art school. The family lived on Shshipok Street in the Zamoskvorechye District in Moscow. From November 1947 to Spring 1948 he was in the hospital with tuberculosis. Many themes of his childhood – the evacuation, his mother and her two children, the withdrawn father, the time in the hospital – feature prominently in his film The Mirror.

Following high school graduation, from 1951 to 1952, Tarkovsky studied Arabic at the Oriental Institute in Moscow, a branch of the Academy of Sciences of the USSR. Although he already spoke some Arabic and was a successful student in his first semesters, he did not finish his studies and dropped out to work as a prospector for the Academy of Science Institute for Non-Ferrous Metals and Gold. He participated in a year-long research expedition to the river Kureikye near Turukhansk in the Krasnoyarsk Province. During this time in the Taiga Tarkovsky decided to study film.

Film school student[edit]

Upon returning from the research expedition in 1954, Tarkovsky applied at the State Institute of Cinematography (VGIK) and was admitted to the film directing program. He was in the same class as Irma Raush whom he married in April 1957.[3]

The early Khrushchev era offered unique opportunities for young film directors. Before 1953, annual film production was low and most films were directed by veteran directors. After 1953, more films were produced, many of them by young directors. The Khrushchev Thaw relaxed Soviet social restrictions a bit and permitted a limited influx of European and North American literature, films and music. This allowed Tarkovsky to see films of the Italian neorealists, French New Wave, and of directors such as Kurosawa, Buñuel, Bergman, Bresson, Andrzej Wajda (whose film Ashes and Diamonds influenced Tarkovsky) and Mizoguchi. Tarkovsky absorbed the idea of the auteur as a necessary condition for creativity[citation needed].

Tarkovsky's teacher and mentor was Mikhail Romm, who taught many film students who would later become influential film directors. In 1956, Tarkovsky directed his first student short film, The Killers, from a short story of Ernest Hemingway. The short film There Will Be No Leave Today and the screenplay Concentrate followed in 1958 and 1959.

An important influence on Tarkovsky was the film director Grigori Chukhrai, who was teaching at the V.G.I.K. Impressed by the talent of his student, Chukhrai offered Tarkovsky a position as assistant director for his film Clear Skies. Tarkovsky initially showed interest but then decided to concentrate on his studies and his own projects.[3]

During his third year at the V.G.I.K., Tarkovsky met Andrei Konchalovsky. They found much in common as they liked the same film directors and shared ideas on cinema and films. In 1959, they wrote the script Antarctica – Distant Country, which was later published in the Moskovskij Komsomolets. Tarkovsky submitted the script to Lenfilm, but it was rejected. They were more successful with the script The Steamroller and the Violin, which they sold to Mosfilm. This became Tarkovsky's graduation project, earning him his diploma in 1960 and winning First Prize at the New York Student Film Festival in 1961.

Career[edit]

Film career in the Soviet Union[edit]

Tarkovsky's first feature film was Ivan's Childhood in 1962. He had inherited the film from director Eduard Abalov, who had to abort the project. The film earned Tarkovsky international acclaim and won the Golden Lion award at the Venice Film Festival in 1962. In the same year, on 30 September, his first son Arseny (called Senka in Tarkovsky's diaries) Tarkovsky was born.

Monument to Andrei Tarkovsky at entrance of Gerasimov Institute of Cinematography

In 1965, he directed the film Andrei Rublev about the life of Andrei Rublev, the fifteenth-century Russian icon painter. Andrei Rublev was not immediately released after completion due to problems with Soviet authorities. Tarkovsky had to cut the film several times, resulting in several different versions of varying lengths. A version of the film was presented at the Cannes Film Festival in 1969 and won the FIPRESCI prize. The film was officially released in the Soviet Union in a cut version in 1971.

He divorced his wife, Irma Raush, in June 1970. In the same year, he married Larissa Kizilova (née Egorkina), who had been a production assistant for the film Andrei Rublev (they had been living together since 1965). Their son, Andrei Andreyevich Tarkovsky, was born in the same year on 7 August.[4]

In 1972, he completed Solaris, an adaptation of the novel Solaris by Stanisław Lem. He had worked on this together with screen-writer Fridrikh Gorenshtein as early as 1968. The film was presented at the Cannes Film Festival, won the Grand Prix Spécial du Jury and the FIPRESCI prize, and was nominated for the Palme d'Or. From 1973 to 1974, he shot the film The Mirror, a highly autobiographical and unconventionally structured film drawing on his childhood and incorporating some of his father's poems. Tarkovsky had worked on the screenplay for this film since 1967, under the consecutive titles Confession, White day and A white, white day. From the beginning the film was not well received by Soviet authorities due to its content and its perceived elitist nature. Russian authorities placed the film in the "third category," a severely limited distribution, and only allowed it to be shown in third-class cinemas and workers' clubs. Few prints were made and the film-makers received no returns. Third category films also placed the film-makers in danger of being accused of wasting public funds, which could have serious effects on their future productivity.[5] These difficulties are presumed to have made Tarkovsky play with the idea of going abroad and producing a film outside the Soviet film industry.[6]

During 1975, Tarkovsky also worked on the screenplay Hoffmanniana, about the German writer and poet E. T. A. Hoffmann. In December 1976, he directed Hamlet, his only stage play, at the Lenkom Theatre in Moscow. The main role was played by Anatoly Solonitsyn, who also acted in several of Tarkovsky's films. At the end of 1978, he also wrote the screenplay Sardor together with the writer Aleksandr Misharin.

The last film Tarkovsky completed in the Soviet Union was Stalker, inspired by the novel Roadside Picnic by the brothers Arkady and Boris Strugatsky. Tarkovsky had met the brothers first in 1971 and was in contact with them until his death in 1986. Initially he wanted to shoot a film based on their novel Dead Mountaineer's Hotel and he developed a raw script. Influenced by a discussion with Arkady Strugatsky he changed his plan and began to work on the script based on Roadside Picnic. Work on this film began in 1976. The production was mired in troubles; improper development of the negatives had ruined all the exterior shots. Tarkovsky's relationship with cinematographer Georgy Rerberg deteriorated to the point where he hired Alexander Knyazhinsky as a new first cinematographer. Furthermore, Tarkovsky suffered a heart attack in April 1978, resulting in further delay. The film was completed in 1979 and won the Prize of the Ecumenical Jury at the Cannes Film Festival.

In the same year Tarkovsky also began the production of the film The First Day (Russian: Первый День Pervyj Dyen′), based on a script by his friend and long-term collaborator Andrei Konchalovsky. The film was set in 18th-century Russia during the reign of Peter the Great and starred Natalya Bondarchuk and Anatoli Papanov. To get the project approved by Goskino, Tarkovsky submitted a script that was different from the original script, omitting several scenes that were critical of the official atheism in the Soviet Union. After shooting roughly half of the film the project was stopped by Goskino after it became apparent that the film differed from the script submitted to the censors. Tarkovsky was reportedly infuriated by this interruption and destroyed most of the film.[7]

Film career outside the Soviet Union[edit]

During the summer of 1979, Tarkovsky traveled to Italy, where he shot the documentary Voyage in Time together with his long-time friend Tonino Guerra. Tarkovsky returned to Italy in 1980 for an extended trip during which he and Guerra completed the script for the film Nostalghia. During 1981 he traveled to the United Kingdom and Sweden. During his trip to Sweden he had considered defecting from the Soviet Union, but ultimately decided to return because of his wife and his son.

Tarkovsky returned to Italy in 1982 to start shooting Nostalghia. He did not return to his home country. As Mosfilm withdrew from the project, he had to complete the film with financial support provided by the Italian RAI. Tarkovsky completed the film in 1983. Nostalghia was presented at the Cannes Film Festival and won the FIPRESCI prize and the Prize of the Ecumenical Jury. Tarkovsky also shared a special prize called Grand Prix du cinéma de creation with Robert Bresson. Soviet authorities prevented the film from winning the Palme d'Or,[8] a fact that hardened Tarkovsky's resolve to never work in the Soviet Union again. In the same year, he also staged the opera Boris Godunov at the Royal Opera House in London under the musical direction of Claudio Abbado.

He spent most of 1984 preparing the film The Sacrifice. At a press conference in Milan on 10 July 1984, he announced that he would never return to the Soviet Union and would remain in Europe. At that time, his son Andrei Jr. was still in the Soviet Union and not allowed to leave the country.

During 1985, he shot the film The Sacrifice in Sweden. At the end of the year he was diagnosed with terminal lung cancer. In January 1986, he began treatment in Paris and was joined there by his son, who was finally allowed to leave the Soviet Union. The Sacrifice was presented at the Cannes Film Festival and received the Grand Prix Spécial du Jury, the FIPRESCI prize and the Prize of the Ecumenical Jury. As Tarkovsky was unable to attend due to his illness, the prizes were collected by his son, Andrei Jr.

Andrei and Larisa Tarkovsky's grave, Sainte-Geneviève-des-Bois Russian Cemetery in France

In Tarkovsky's last diary entry (15 December 1986), he wrote: "But now I have no strength left – that is the problem". The diaries are sometimes also known as Martyrolog and were published posthumously in 1989 and in English in 1991.

Tarkovsky died in Paris on 29 December 1986. His funeral ceremony was held at the Alexander Nevsky Cathedral. He was buried on 3 January 1987 in the Russian Cemetery in Sainte-Geneviève-des-Bois in France. The inscription on his gravestone, which was created by the Russian sculptor Ernst Neizvestny, reads: To the man who saw the Angel.

A controversy emerged in Russia in the early 1990s when it was alleged that Tarkovsky did not die of natural causes but was assassinated by the KGB. Evidence for this hypothesis includes testimonies by former KGB agents who claim that Viktor Chebrikov gave the order to eradicate Tarkovsky to curtail what the Soviet government and the KGB saw as anti-Soviet propaganda by Tarkovsky. Other evidence includes several memoranda that surfaced after the 1991 coup and the claim by one of Tarkovsky's doctors that his cancer could not have developed from a natural cause.[9]

As Tarkovsky, his wife Larisa Tarkovskaya and actor Anatoli Solonitsyn all died from the very same type of lung cancer, Vladimir Sharun, sound designer in Stalker, is convinced that they were all poisoned when shooting the film near a chemical plant.[10]

Filmography[edit]

Tarkovsky is mainly known as a film director. During his career he directed only seven feature films, as well as three shorts from his time at V.G.I.K. He also wrote several screenplays. He furthermore directed the play Hamlet for the stage in Moscow, directed the opera Boris Godunov in London, and he directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting in Time, a book on film theory.[11]

Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed Andrei Rublev in 1966, Solaris in 1972, The Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a cowriter. Tarkovsky once said that a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous films.[12][13]

Awards[edit]

Numerous awards were bestowed on Tarkovsky throughout his lifetime. At the Venice Film Festival he was awarded the Golden Lion for Ivan's Childhood. At the Cannes Film Festival, he won the FIPRESCI prize four times, the Prize of the Ecumenical Jury three times (more than any other director), and the Grand Prix Spécial du Jury twice. He was also nominated for the Palme d'Or two times. In 1987, the British Academy of Film and Television Arts awarded the BAFTA Award for Best Foreign Language Film to The Sacrifice.

Russian stamp featuring Tarkovsky

Under the influence of Glasnost and Perestroika, Tarkovsky was finally recognized in the Soviet Union in the Autumn of 1986, shortly before his death, by a retrospective of his films in Moscow. After his death, an entire issue of the film magazine Iskusstvo Kino was devoted to Tarkovsky. In their obituaries, the film committee of the Council of Ministers of the USSR and the Union of Soviet Film Makers expressed their sorrow that Tarkovsky had to spend the last years of his life in exile.[14]

Posthumously, he was awarded the Lenin Prize in 1990, one of the highest state honors in the Soviet Union. In 1989 the Andrei Tarkovsky Memorial Prize was established, with its first recipient being the Russian animator Yuriy Norshteyn. Since 1993, the Moscow International Film Festival awards the annual Andrei Tarkovsky Award. In 1996 the Andrei Tarkovsky Museum opened in Yuryevets, his childhood town.[15] A minor planet, 3345 Tarkovskij, discovered by Soviet astronomer Lyudmila Georgievna Karachkina in 1982, has also been named after him.[16]

Tarkovsky has been the subject of several documentaries. Most notable is the 1988 documentary Moscow Elegy, by Russian film director Alexander Sokurov. Sokurov's own work has been heavily influenced by Tarkovsky. The film consists mostly of narration over stock footage from Tarkovsky's films. Directed by Andrei Tarkovsky is 1988 documentary film by Michal Leszczylowski, an editor of the film The Sacrifice. Film director Chris Marker produced the television documentary One Day in the Life of Andrei Arsenevich as an homage to Andrei Tarkovsky in 2000.[17]

Ingmar Bergman was quoted as saying: "Tarkovsky for me is the greatest [of us all], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream".[1] Film historian Steven Dillon claims that much of subsequent film was deeply influenced by the films of Tarkovsky.[18]

At the entrance to the Gerasimov Institute of Cinematography in Moscow, Russia there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin.[19]

Influences[edit]

Tarkovsky became a film director during the mid and late 1950s, a period referred to as the Khrushchev Thaw, during which Soviet society opened to foreign films, literature and music, among other things. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience which influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director.

Tarkovsky was, according to Shavkat Abdusalmov, a fellow student at the film school, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight.[20] Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves."[21]

In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list includes: Diary of a Country Priest and Mouchette, by Robert Bresson; Winter Light, Wild Strawberries and Persona, by Ingmar Bergman; Nazarín, by Luis Buñuel; City Lights, by Charlie Chaplin; Ugetsu, by Kenji Mizoguchi; Seven Samurai, by Akira Kurosawa, and Woman in the Dunes, by Hiroshi Teshigahara. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer.[22]

With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Russia, although he rated Soviet directors such as Boris Barnet, Sergei Paradjanov and Alexander Dovzhenko highly.

Although strongly opposed to commercial cinema, in a famous exception Tarkovsky praised the blockbuster film The Terminator, saying its "vision of the future and the relation between man and its destiny is pushing the frontier of cinema as an art". He was critical of the "brutality and low acting skills", but nevertheless impressed by this film.[7]

Cinematic style[edit]

Tarkovsky's films are characterized by metaphysical themes, extremely long takes, and memorable images of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera. He once said, “Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.”

Tarkovsky included levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for their photogenic value and magical inexplicability.[23]

Water, clouds, and reflections were used by him for their surreal beauty and photogenic value, as well as their symbolism, such as waves or the forms of brooks or running water.[24]

Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self-reflection.

Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.

Up to, and including, his film The Mirror, Tarkovsky focused his cinematic works on exploring this theory. After The Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.

Several of Tarkovsky's films have color or black and white sequences. This first occurs in the otherwise monochrome Andrei Rublev, which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in Stalker's case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life.[25]

Vadim Yusov[edit]

Tarkovsky worked in close collaboration with cinematographer Vadim Yusov from 1958 to 1972, and much of the visual style of Tarkovsky's films can be attributed to this collaboration.[26] Tarkovsky would spend two days preparing for Yusov to film a single long take, and due to the preparation, usually only a single take was needed.[27]

Sven Nykvist[edit]

In his last film, The Sacrifice, Tarkovsky worked with cinematographer Sven Nykvist, who had worked closely with director Ingmar Bergman on many of Ingmar Bergman's films – multiple people who worked with Bergman worked on the production, notably lead actor Erland Josephson, who had acted for Tarkovsky in Nostalghia. Nykvist complained that Tarkovsky would frequently look through the camera and even direct actors through it.[27]

Films about Tarkovsky[edit]

  • Voyage in Time (1983): documents the travels in Italy of Andrei Tarkovsky in preparation for the making of his film Nostalghia, Tonino Guerra.
  • Tarkovsky: A Poet in the Cinema (1984): directed by Donatella Baglivo
  • Ebbo Demant (1988): Auf der Suche nach der verlorenen Zeit.Andrej Tarkowskijs Exil und Tod. Documentary. Germany.
  • One Day in the Life of Andrei Arsenevich (1999): French documentary film directed by Chris Marker

References[edit]

  1. ^ a b Title quote of 2003 Tarkovsky Festival Program, Pacific Film Archive
  2. ^ Sipatova, Marina (2007). "Тайна рода Тарковских". Moskovskij Komsomolets (in Russian). Retrieved 25 November 2007. 
  3. ^ a b Pleshakova, Anastasia (4 April 2007). "Тарковский был "разрешенным контрреволюционером"" [Tarkovsky was "a legal сounterrevolutionary"]. Komsomolskaya Pravda. Archived from the original on 4 January 2008. Retrieved 27 November 2007. 
  4. ^ Gianvito, John (2006). Andrei Tarkovsky: Interviews (Conversations with Filmmakers Series). University Press of Mississippi. pp. XXV. ISBN 1-57806-220-9. 
  5. ^ Marshall, Herbert. Sight and Sound. Vol 45, no 2. Spring 1976. p. 93.
  6. ^ Tarkovsky, Andrei; translated by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970-1986. Calcutta: Seagull Books. ISBN 81-7046-083-2. 
  7. ^ a b Мир и фильмы Андрея Тарковского. Сост. А. Сандлер. [Andey Tarkovsky's world and films] (in Russian). Moscow: Iskusstvo(Искусство). 1990. ISBN 81-7046-083-2. 
  8. ^ Wagstaff, Peter (2004). Border crossings: mapping identities in modern Europe. Peter Lang. p. 169. ISBN 978-3-03910-279-2. Retrieved 7 March 2011. 
  9. ^ Komsolmoskaya Pravda, "New Tarkovsky documents surface", 15. September 1995, page 23.
  10. ^ Tyrkin, Stas (23 March 2001). "In Stalker Tarkovsky foretold Chernobyl". Komsomolskaya Pravda. Archived from the original on 9 October 2009. Retrieved 9 September 2009. 
  11. ^ "Sculpting In Time" Dialogue Talk.
  12. ^ Tarkovsky, Andrei (1990). "Lectures on Film Directing (notes from classes taught by Tarkovsky at the State Institute of Cinematography)". Iskusstvo Kino. Retrieved 14 January 2008. 
  13. ^ Illg, Jerzy (1987). "Z Andriejem Tarkowskim rozmawiają Jerzy Illg, Leonard Neuger". Res Publica (Warsaw) 1: 137–160. 
  14. ^ "Obituary". Literaturnaya Gazeta. 7 January 1987. 
  15. ^ "МУЗЕЙ А.ТАРКОВСКОГО". Retrieved 30 November 2007. 
  16. ^ Schmadel, Lutz (2003). Dictionary of Minor Planet Names. Springer. ISBN 3-540-00238-3. 
  17. ^ "Significant Documentaries". Archived from the original on 15 January 2008. Retrieved 15 January 2008. 
  18. ^ Dillon, Steven (2006). The Solaris Effect: Art and Artifice in Contemporary American Film. University of Texas Press. ISBN 978-0-292-71345-1. 
  19. ^ Panoramio – Photo of Monument to Gerasimov Institute of Cinematography famous learner – Gennady Shpalikov, Andrei Tarkovsky and Vasily Shukshin
  20. ^ Abdusalamov, Shavkat; translated by Sergei Sossinsky (1990). Feedback Effects, in About Andrei Tarkovsky, Memoirs and Biographies. Moscow: Progress Publishers. ISBN 5-01-001973-6. 
  21. ^ Tarkovsky, Andrei. Sculpting in Time. Trans. Kitty Hunter-Blair. Austin, Texas: University of Texas Press, 2003.
  22. ^ Lasica, Tom (March 1993). "Tarkovsky's Choice". Sight and Sound 3 (3). Archived from the original on 21 November 2007. Retrieved 25 December 2007. 
  23. ^ de Brantes, Charles (20 June 1986). "La foi est la seule chose qui puisse sauver l'homme". La France Catholique. Retrieved 14 January 2008. 
  24. ^ "English Programme Booklet for The Sacrifice" (Press release). Swedish Film Institute. Retrieved 14 January 2008. 
  25. ^ Chugunova, Maria (December 1966). "On Cinema – Interview with Tarkovsky". To the Screen. Retrieved 14 January 2008. 
  26. ^ List of Noted Film Director And Cinematographer Collaborations: Andrei Tarkovsky Vadim Yusov, Museum of Learning. [1]
  27. ^ a b The films of Andrei Tarkovsky: a visual fugue By Vida T. Johnson, Graham Petrie, p. 79.

Bibliography[edit]

  • Dunne, Nathan (2008). Tarkovsky. Black Dog Publishing. ISBN 1-906155-04-6. 
  • Gianvito, John, ed. (2006). Andrei Tarkovsky: Interviews (Conversations with Filmmakers Series). University Press of Mississippi. ISBN 1-57806-220-9. 
  • Le Fanu, Mark (1987). The Cinema of Andrei Tarkovsky. British Film Institute. 
  • Johnston, Vida T.; Petrie, Graham (1997). The Films of Andrei Tarkovsky: A Visual Fugue. Bloomington: Indiana Univ. Press. ISBN 0-253-20887-4. 
  • Martin, Sean (2005). Andrei Tarkovsky. Pocket Essentials. ISBN 1-904048-49-8. 
  • Jónsson, Gunnlaugur A.; Óttarsson, Thorkell Á. (2006). Through the Mirror: Reflections on the Films of Andrei Tarkovsky. Cambridge Scholars Press. ISBN 1-904303-11-0. 
  • revue NUNC (ed.). Dossier Andrei Tarkovsky. n°11, 2006. Editions de Corlevour [2]. 
  • Tarkovsky, Andrei (1989). Sculpting in Time. University of Texas Press [3]. ISBN 978-0-292-77624-1. 
  • Slevin, Tom (2010). "Existence, Ethics and Death in Andrei Tarkovsky's cinema: the cultural philosophy of Solaris". Film International 8 (2): 49–62. doi:10.1386/fiin.8.2.49. 
  • Tejeda, Carlos (2010). Andrei Tarkovski. Cátedra, Madrid [4]. ISBN 978-84-376-2666-6. 
  • Elmanovitš, Tatjana (1980). Ajapeegel. Andrei Tarkovski filmid (in Estonian). Eesti Raamat. 
  • Turovskaya, Maya (1991). 7½ ili Filmõ Andreya Tarkovskovo (in Russian). Iskusstvo. 
  • Alexander-Garrett, Layla (2011). Andrei Tarkovsky: A Photographic Chronicle of the Making of The Sacrifice (in English and russian). Cygnnet [5]. ISBN 978-09-570-4160-8. 

External links[edit]