Andey Tarkovsky's world and films] (in Russian). Moscow: Iskusstvo(Искусство). 1990. ISBN 978-81-7046-083-1. Andrey Tarkovsky (born 4 April 1932 inthe village of Zavrazhye in the Yuryevetsky District, Soviet Union – died 29 December 1986 in Paris, France) was a Russian film director and screenwriter widely regarded as one of the most influential filmmakers in the history of cinema. Directors who have made the transition to video art, from Chantal Akerman to Atom Egoyan, have proved themselves adept at shifting the locus of meaning-production from the screen to the viewer who encounters his or her own anxieties in the struggle to make sense of the projection. In the dialectical tension that marked the classical regime of representation, video art marks the final victory of suspension over suspense. In the words of the cinema historian Dominique Païni, ‘From images that only exist because they are made of light [arise] therefore images that are made of time’. 33 Tarkovsky is best known for such cinematic masterpieces as Solaris, The Mirror, Andrei Rublev, and Stalker. Tarkovksy’s vision was unique as a filmmaker; he favored long takes and leisurely scenes that explored the beauty and mystery of everyday life. Andrew Horton (29 September 2016). "3 - Angelopoulos, the Continuous Image and Cinema". The Films of Theo Angelopoulos - A Cinema of Contemplation. Princeton University Press. p.73. ISBN 9781400884421. We should realize, however, that Angelopoulos is an unusual paradox in the history of cinema: he is very clearly "Greek" as I have demonstrated, and yet he is an international filmmaker who has been influenced by filmmakers from around the globe. He has observed: "I draw techniques from everything I've seen....I continue to love...very much the films of Murnau, Mizoguchi, Antonioni. More recently: Tarkovsky's Stalker, Godard's Every Man for Himself and of course Ordet....

Moreover, the change from projection to installation has, if anything only increased the attention paid to the time-form. It has also been a result of narrative experimentation. As the curator Susanne Gaensheimer writes, if ‘the readability of the film’s narrative is eliminated, making an interpretation in the traditional sense impossible, then its semiotic structure is altered to new, different meaning constructs’. 32

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It is curious that Jameson contrasts Tarkovsky’s alleged mysticism to the cinema of Aleksandr Sokurov, whose verbose films, often with voiceover narration by the director, lend themselves far more readily to ideological reduction. Marker seems to share the suspicion that, whatever the medium in which he worked, Tarkovsky remained attached to the cinematic image, a medium where he was, so to speak, in his element – the element of time. In his 35 mm films Tarkovsky was able to orchestrate each shot with an almost obsessive attention to detail, which lent the image an unmistakably minted quality and rendered the screen space a sensate membrane of material forces, eliciting from the viewer not only intellectual participation but also physical presence. In this sense Tarkovsky belongs not only to the genealogy of poetic cinema but also to the experimental cinema typified by Stan Brakhage. For both artists cinema is authentic not because of what it represents, but because of what it enables in the viewer as a project. As poet Robert Kelly has written apropos of Brakhage, such a film ‘silences story so that we can happen’. 17 While Tarkovsky’s Polaroid photography remained relatively unknown during his lifetime, his legacy as a filmmaker and photographer has endured. His work continues to inspire and influence contemporary artists, and his photographs have been exhibited in galleries and museums around the world. In 1977, on my wedding ceremony in Moscow, Tarkovsky appeared with a Polaroid camera,” Italian poet, writer and screenwriter Antonio ‘Tonino’ Guerra, once said. “He had just shortly discovered this instrument and used it with great pleasure among us. Tarkovsky thought a lot about the ‘flight’ of time and wanted to do only one thing: to stop it — even if only for a moment, on the pictures of the Polaroid camera,” he continued.

Jen Yamato (16 March 2009). "Five Favorite Films with Alex Proyas". Rotten Tomatoes. Fandango . Retrieved 30 August 2021. a b "Marina Tarkovskaya: "My brother enjoyed being a descendant of the Dagestanian princes" ". interview to the Gordon Boulevard newspaper at the Andrei Tarkovsky media archive, 2007 (in Russian) Andrei Andreevic Tarkovsky, son of the director said about his father’s intense relationship with the immediacy of Polaroid: The Japanese filmmaker Akira Kurosawa remarked on Tarkovsky's films as saying: "His unusual sensitivity is both overwhelming and astounding. It almost reaches a pathological intensity. Probably there is no equal among film directors alive now." Kurosawa also commented: "I love all of Tarkovsky's films. I love his personality and all his works. Every cut from his films is a marvelous image in itself. But the finished image is nothing more than the imperfect accomplishment of his idea. His ideas are only realized in part. And he had to make do with it." [62]Conciseness and Precision: Using the fewest words to convey an idea. This doesn't mean the story is rushed or details are omitted; rather, every element included serves a purpose and contributes to the overall narrative.

The reluctance of the artist to interpolate himself between the object and the element of light allows the medium itself to emerge as a condition for the possibility of both object and element. The Rayograph is, in a sense, the purest photograph, because it renders nothing other than the element of light.

credits

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 Yuri Norstein. In three consecutive events, the Moscow International Film Festival awarded the Andrei Tarkovsky Award in 1993, 1995, and 1997. [54] [55] [56] English Programme Booklet for The Sacrifice" (Press release). Swedish Film Institute. Archived from the original on 8 August 2007 . Retrieved 14 January 2008.