Andrei Tarkovsky: The Winding Quest by Peter Green

By Peter Green

A survey of the paintings of Andrei Tarkovsky, the Russian film-maker who lived from 1932-1986. it's a serious exam of his movies within the mild of his personal writings and existence, his aesthetics of movie, his conception of time in cinematography and an try to understand his imaginative and prescient. the movies which are tested are: "Ivan's Childhood", "The Mirror" and "Andrei Rublyov". The ebook is to be released at the anniversary of Tarkovsky's delivery in April 1992.

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Table of contents:

Notes on Contributors.

Acknowledgments.

Introduction: Haneke’s Anachronism (Roy Grundmann).

Part I severe and Topical techniques to Haneke’s Cinema.

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2 5 Tapes, 4 Halls, goals: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché (Thomas Y. Levin).

3 Infectious photos: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and picture (Vinzenz Hediger).

4 monitoring Code Unknown (Tom Conley).

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6 video games Haneke performs: fact and function (Brigitte Peucker).

7 Figures of Disgust (Christa Blümlinger).

8 with no track: On Caché (Michel Chion).

9 scuffling with the Melodramatic : Haneke’s Polemics (Jörg Metelmann).

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25 The Unknown Piano instructor (Charles Warren).

26 Discordant wants, Violent Refrains: los angeles Pianiste (The Piano instructor) (Jean Ma).

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29 Terror and Utopia of shape: Robert Bresson’s Au hasard Balthazar (Michael Haneke).

30 Violence and the Media (Michael Haneke).

31 the area that's recognized: An Interview with Michael Haneke (Christopher Sharrett).

32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).

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Index.

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Extra resources for Andrei Tarkovsky: The Winding Quest

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On his arrival, questions his own sanity and subjects himself Kel to vanous tests to verify that he is not the victim of hallucinations. But the book may serve only as a secondary point of reference; for Tarkovsky's version stands in its own right. As in all his sought to create an independent work for the cinema. Solaris ' films, he In . Solaris he nevertheless adheres to the book far more closely . than rn any of his other films based on literary works. Lem' s novel is n� ordinary science fiction fantasy.

The physicist among them, Sartorius, like the physicist in Stalker, is determined to eliminate all non-scientific, metaphysical considera­ tions. His resolve to maintain his scientific bearings, in a situation in which everything - as in the 'Zone' - is in a constant state of flux, where no experiment is repeatable, leads him into isolation and secrecy. Like the scientist in Stalker, ultimately unable to cope with the phenomena he encounters, Sartorius devises a means to destroy what he cannot comprehend.

Indeed, it is no longer certain whether the remaining scientists in the space la­ The metaphor of the mirror appears repeatedly in Solaris. Snaut needs a mirror, his own image - a sentiment echoed by the child's drawing Kelvin finds on Gibarian's door. Snaut's words are fol­ lowed by Harey's accusation that the scientists have become mere reflections of themselves. · boratory are still conducting research into the planet or have them­ HAREY AND THE METAPHOR OF MORTALITY selves become the subjects of its own experiments.

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