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Acknowledgments | ||
A Note on References | ||
A Note on Transliteration | ||
Introduction | ||
1 | A Martyred Artist? | 3 |
2 | Shaping an Aesthetics of Cinema | 27 |
3 | Working Methods | 41 |
4 | Beginnings: The Steamroller and the Violin and Ivan's Childhood | 63 |
5 | Andrei Roublev | 79 |
6 | Solaris | 98 |
7 | Mirror | 111 |
8 | Stalker | 137 |
9 | Nostalghia | 156 |
10 | The Sacrifice | 172 |
11 | Imprinted Time: The Development of a Style | 187 |
12 | The Image: Indivisible and Elusive | 203 |
13 | Life as Appearance, Life as a Dream | 231 |
14 | A Dialogue with Art | 250 |
Appendix: Film Synopses | 263 | |
Notes | 297 | |
Filmography | 315 | |
Works Cited | 319 | |
Index | 325 |
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Add Films of Andrei Tarkovsky: A Visual Fugue, Johnson and Petrie have produced an admirable book. Anyone who wants to make sense of Tarkovsky's films—a very difficult task in any case—must read it. —The Russian Review This book is a model of contextual and textual analysis.... the Tarkovsky myt, Films of Andrei Tarkovsky: A Visual Fugue to the inventory that you are selling on WonderClubX
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Add Films of Andrei Tarkovsky: A Visual Fugue, Johnson and Petrie have produced an admirable book. Anyone who wants to make sense of Tarkovsky's films—a very difficult task in any case—must read it. —The Russian Review This book is a model of contextual and textual analysis.... the Tarkovsky myt, Films of Andrei Tarkovsky: A Visual Fugue to your collection on WonderClub |