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Sculpting in Time

Andrei Tarkovsky

Paperback | Pages: 254 pages

Rating: 4.51 | 3493 Users | 230 Reviews

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Title	:	Sculpting in Time
Author	:	Andrei Tarkovsky
Book Format	:	Paperback
Book Edition	:	Anniversary Edition
Pages	:	Pages: 254 pages
Published	:	April 1st 1989 by University of Texas Press (first published 1984)
Categories	:	Culture. Film. Nonfiction. Art. Philosophy. Cultural. Russia. Biography. Media Tie In

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An alternate cover edition can be found here. 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.

List Books Supposing Sculpting in Time

Original Title:	Запечатленное время
ISBN:	0292776241 (ISBN13: 9780292776241)
Edition Language:	English

Rating Epithetical Books Sculpting in Time

Ratings: 4.51 From 3493 Users | 230 Reviews

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i like tarkovsky's films , but after i read this book i start to watch films in a different way , every dettail is important, the music, the silence , the script, i knew that , but i start to open my eyes and catch the time !

Something of a blog post: I am currently working on a playscript concerned with his exile and death, though using an analogue to explore my relationship with my father. This short work was an invaluable insight, especially alongside his journals, which are important as a further revelation of his personality, his relationship with his family, being plagued by doubt, his humanity. This is what he wanted to be, what he wanted to project, what he wanted to want to be. He was a tragic figure. I

The closest I can come to describing the way Tarkovsky writes is "lucid depth". His prose is simultaneously clear and packed with philosophical richness. It's challenging in the best possible way.

I will expound developments I made while reading the great Russian director Andrei Tarkovskys poetic accounts, and they will collectively be an indirect review in the process... After reading Tarkovskys autobiography, I cant help but feel utterly overwhelmed, disturbed, and changed in some profound way. My own considerations and world views have been upturned. Parts of Sculpting in Time were so engrossing and beautifully told (even penetrating the sometimes overly literal translation of Kitty

Andrei Tarkovsky has much in common with Dostoevsky in the sense that his movies move at a deliberate, slow pace with drawn out panning movements and long takes. They need extra effort from the viewer to appreciate them. His movies are much concerned with the "inner life" and the psychological truths of his characters.In this book he shares his ideas on filmmaking. Gives us an insight into the rules and methods that Tarkovsky set for himself in making his movies. Not a technical treatise but

"I love cinema. There is still a lot that I don't know: what I am going to work on, what shall I do later, how everything will turn out, whether my work will actually correspond to the principles to which I now adhere, to the system of working hypotheses I put forward. There are too many temptations on every side: stereotypes, preconceptions, commonplaces, artistic ideas other than one's own. And really it's so easy to shoot a scene beautifully, for effect, for acclaim . . . But you only have to

Quite literally the definitive statement on his own work. The insight into his beliefs is invaluable. All hail the master.