安德烈·塔可夫斯基:一九三二年生於俄羅斯劄弗洛塞鎮,是詩人阿爾謝尼伊·塔可夫斯基之子。曾就學於蘇聯電影學院,一九六一年畢業。他的電影曾經贏得多項國際性大奬;第一部長故事片《伊萬的童年》於一九六二年獲得威尼斯影展金獅奬。其最後一部作品《犧牲》榮獲一九八六年夏納影展評審團特彆奬,同年十二月,塔可夫斯基因肺癌病逝於巴黎,享年五十四歲。
Andrey Tarkovsky, the genius of modern Russian cinema - hailed by Ingmar Bergman as "the most important director of our time" - died an exile in Paris in December 1986. In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible. In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films - Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre - most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.
前段时间,一部叫《百鸟朝凤》的片子火了。它是已故的著名导演吴天明的最后一部作品,在导演身后才得以进入院线公映。然而它最终能刷爆朋友圈,却是因为制片人方励在网络直播平台上“下跪求关注”,希望可以增加排片量,也希望更多人可以进入影院支持这部片子。此事一出,立...
評分媒介与内容 每一种媒体,都有属于自己的内容。或者说,每一种内容,都有自己独有的载体。比如文字与思想。没有文字的思想是不可想象的。塔可夫斯基说,电影要完全与文学脱离。电影是一种独立的艺术形式。真是太和我意了。电影就应该表达一些只有电影才能表达,而其他的艺术无...
評分前段时间,一部叫《百鸟朝凤》的片子火了。它是已故的著名导演吴天明的最后一部作品,在导演身后才得以进入院线公映。然而它最终能刷爆朋友圈,却是因为制片人方励在网络直播平台上“下跪求关注”,希望可以增加排片量,也希望更多人可以进入影院支持这部片子。此事一出,立...
評分当时光之无形可谓镜像下之情状,则他终成为举刀纂刻之人,于碎屑里拼贴万千奇迹。 ——题记 在认识塔尔科夫斯基之前,我对于电影的认识之浅俗,理解之单薄,往往让如今的自己想来,常常也觉得汗颜。 电...
評分如果把这本书仅仅作为一本有关电影艺术的随笔,我想是会辜负塔可夫斯基良苦用心的。书看完了很久,也看了很多遍,但终不敢提笔评论之,实在是因为塔可夫斯基的博大深沉,一如他的先贤陀思妥耶夫斯基,包含并测量了人类对艺术、政治、社会、生命的全部深度和广度。只不过,...
外緣讀物,因為寫書的塔可夫斯基到底比拍電影的他囉嗦些,但自作聰明的理論傢那麼多,又怎能沒有一本現身說法的創作論?他反對將電影視為符號係統的觀念,認為那是文學批評的錯置。——那麼基耶斯洛夫斯基《藍白紅》的顔色符號又如何?(綠色封麵,導演椅上的3/4背影。)
评分比中文版好懂多瞭
评分比中文版好懂多瞭
评分對讀快樂!
评分他讓我明白:我們攝取影像的同時要尋找影像背後的“第二落點”:隻有深入於人的精神世界纔能完成的哲學思考
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