Sculpting in Time

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安德烈·塔可夫斯基:一九三二年生于俄罗斯札弗洛塞镇,是诗人阿尔谢尼伊·塔可夫斯基之子。曾就学于苏联电影学院,一九六一年毕业。他的电影曾经赢得多项国际性大奖;第一部长故事片《伊万的童年》于一九六二年获得威尼斯影展金狮奖。其最后一部作品《牺牲》荣获一九八六年夏纳影展评审团特别奖,同年十二月,塔可夫斯基因肺癌病逝于巴黎,享年五十四岁。

出版者:University of Texas Press
作者:Andrey Tarkovsky
出品人:
页数:256
译者:Kitty Hunter-Blair
出版时间:1989
价格:USD 29.95
装帧:Paperback
isbn号码:9780292776241
丛书系列:
图书标签:
  • AndreyTarkovsky 
  • 电影 
  • 电影理论 
  • Cinema 
  • 文艺理论 
  • 导演 
  • 電影 
  • 精神秘密 
  •  
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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.

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#一 为什么把拍电影叫做**雕刻时光**?在塔可夫斯基的论述中,电影可以类比于雕塑,雕塑是雕塑家面对一块大理石,一点点剔所有多余的部分。而电影人呢, >电影人同样从包含海量生活事实的时间巨快中提出所有不需要的部分,只留下能成为电影要素的部分,只留下能清晰描述电影形...  

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2012是我读书最多的一年,即使是大学的每一年也没有今年读了那么多的书,阅读让我保持清醒的头脑,使我没有沉浸在科技互联网的信息泡沫中,那些看似是知识的信息其实不是,我们都被它们伪装的外表所迷惑,以为自己学到的就是知识,就是思想,其实不是。索尔仁尼琴说:读书不能...  

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#一 为什么把拍电影叫做**雕刻时光**?在塔可夫斯基的论述中,电影可以类比于雕塑,雕塑是雕塑家面对一块大理石,一点点剔所有多余的部分。而电影人呢, >电影人同样从包含海量生活事实的时间巨快中提出所有不需要的部分,只留下能成为电影要素的部分,只留下能清晰描述电影形...  

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Not a theorist but precisely such that makes him great. The true artist is a rare being, while great art calls for one's character within.

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雕刻时光

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不同人追求不同的东西, 相同的人追求相同的东西... 我的想法和塔可夫斯基很接近, 读这本书让我少了几年去寻找那些我想说的话

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(中英译本差别好大

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The faith responsibility and meaning from life back to poetry.

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