A Study in Andrey Tarkovsky''''s Cinema Art

• Main Authors: Li Hui Chun, 李慧君
• Other Authors: V. V. Malyavin
• Format: Others
• Published: 2002
• Online Access: http://ndltd.ncl.edu.tw/handle/26721262607455488381

碩士 === 淡江大學 === 俄羅斯研究所 === 90 === Tarkovsky is one of the most influential artists of post-modern in Russia. His work not only represents the nature of Russian modern culture, but also revives some important features of the Russian intellectual and artistic tradition. In particular, he believed that family and faith are indispensable conditions of spiritual life. The main objectives of this study are: 1.To analyze Tarkovsky’s films and their artistic patterns. 2.To investigate Tarkovsky’s historical background and main ideas. 3.To evaluate his art ideology and theory and his position in modern art thought. 4.To clarify main tendencies of the modern art ideology, to understand Russian culture and history. 5.To explore Tarkovsky’s attitude toward religion. 6.To analyze Russian mentality and Tarkovsky’s contribution to Russian culture. 7.To sum up the different evaluations of Tarkovsky’s films and offer their preliminary critique. In Tarkovsky’s films, the camera’s lens should be evident to the audience: Tarkovsky has attempted to create the reflexive cinema. Film’s time is not continuous but recoils, as it were, on itself. It is manifested as a turning point in experience. Tarkovsky’s films lead us to seeing, listening and experiencing by mind. They require from audience to develop the sense of one’s own responsibility. Tarkovsky presents his artistic insights in the guise of religious myth, constructing a kind of hyper-reality. Such outlook creates the clash of inner experience and external world. Dream and reality are merged together, while memory is the core of existence. This means reality for him is presented in two aspects of life. As a consequence, Tarkovsky’s view of religion is essentially ambiguous and transcends any dogmatic formulation. Tarkovsky has made a great name for himself in the West. In a certain sense, his work brings the Westerner artistic tradition to completion. Tarkovsky’s main contribution is the discovery of the infinity within time, a kind of symbolic world that precedes ideological interpretations.