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 ...
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.
Introduction
Chapter I: The beginning
Chapter II: Art—a yeaming for the ideal
Chapter III: Imprinted time
Chapter IV: Cinema's destined role
Chapter V: The film image
· · · · · ·
(更多)
Introduction
Chapter I: The beginning
Chapter II: Art—a yeaming for the ideal
Chapter III: Imprinted time
Chapter IV: Cinema's destined role
Chapter V: The film image
Time, rhythm and editing
Scenario and shooting script
The film's graphic realisation
The film actor
Music and noises
Chapter VI: The author in search of an audience
Chapter VII: The artist's responsibility
Chapter VIII: After Nostalgia
Chapter IX: The Sacrifice
Conclusion
Notes
· · · · · · (收起)
写得真好啊，好久没读到让我摘抄如此多句子的书了T_T 老塔未必是我最喜欢的导演，但他的真挚和纯粹实在令人感动。"Traditionally, the best of the Russian intelligentsia were guided by conscience, incapable of self-complacence, moved by compassion for the depr...写得真好啊，好久没读到让我摘抄如此多句子的书了T_T 老塔未必是我最喜欢的导演，但他的真挚和纯粹实在令人感动。"Traditionally, the best of the Russian intelligentsia were guided by conscience, incapable of self-complacence, moved by compassion for the deprived of this world, and dedicated in their search for faith, for the ideal, for good."(展开)
写得真好啊，好久没读到让我摘抄如此多句子的书了T_T 老塔未必是我最喜欢的导演，但他的真挚和纯粹实在令人感动。"Traditionally, the best of the Russian intelligentsia were guided by conscience, incapable of self-complacence, moved by compassion for the depr...写得真好啊，好久没读到让我摘抄如此多句子的书了T_T 老塔未必是我最喜欢的导演，但他的真挚和纯粹实在令人感动。"Traditionally, the best of the Russian intelligentsia were guided by conscience, incapable of self-complacence, moved by compassion for the deprived of this world, and dedicated in their search for faith, for the ideal, for good."(展开)
I quite often had the feeling that these critics were either indifferent to my work or else not competent to criticise: so often they would use well-worn phrases taken from current cinema journalese i...I quite often had the feeling that these critics were either indifferent to my work or else not competent to criticise: so often they would use well-worn phrases taken from current cinema journalese instead of talking the film's direct, intimate effect on the audience. (展开)
![[俄] 安德烈·塔可夫斯基](https://img2.doubanio.com/view/celebrity/m/public/p321.jpg)
安德烈·塔可夫斯基 作者
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南海出版公司2016版
胤祥
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#暗蓝#
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谜马
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1 有用 遠濤 2018-11-10 14:47:57
外缘读物，因为写书的塔可夫斯基到底比拍电影的他啰嗦些，但自作聪明的理论家那么多，又怎能没有一本现身说法的创作论？他反对将电影视为符号系统的观念，认为那是文学批评的错置。——那么基耶斯洛夫斯基《蓝白红》的颜色符号又如何？（绿色封面，导演椅上的3/4背影。）
0 有用 去棹 2020-02-06 04:20:56
（中英译本差别好大
0 有用 oranje 2023-02-28 00:33:40 美国
写得真好啊，好久没读到让我摘抄如此多句子的书了T_T 老塔未必是我最喜欢的导演，但他的真挚和纯粹实在令人感动。"Traditionally, the best of the Russian intelligentsia were guided by conscience, incapable of self-complacence, moved by compassion for the depr... 写得真好啊，好久没读到让我摘抄如此多句子的书了T_T 老塔未必是我最喜欢的导演，但他的真挚和纯粹实在令人感动。"Traditionally, the best of the Russian intelligentsia were guided by conscience, incapable of self-complacence, moved by compassion for the deprived of this world, and dedicated in their search for faith, for the ideal, for good." (展开)
0 有用 Gladys 2011-02-23 19:15:04
读的是1986版的
0 有用 枵腹 2018-07-08 12:44:59
买到Texas版本辣！
0 有用 內有惡女 2023-07-28 22:37:37 荷兰
謝謝塔可夫斯基謝謝謝謝。
0 有用 oranje 2023-02-28 00:33:40 美国
写得真好啊，好久没读到让我摘抄如此多句子的书了T_T 老塔未必是我最喜欢的导演，但他的真挚和纯粹实在令人感动。"Traditionally, the best of the Russian intelligentsia were guided by conscience, incapable of self-complacence, moved by compassion for the depr... 写得真好啊，好久没读到让我摘抄如此多句子的书了T_T 老塔未必是我最喜欢的导演，但他的真挚和纯粹实在令人感动。"Traditionally, the best of the Russian intelligentsia were guided by conscience, incapable of self-complacence, moved by compassion for the deprived of this world, and dedicated in their search for faith, for the ideal, for good." (展开)
0 有用 ZGJ 2022-04-19 20:05:40
I quite often had the feeling that these critics were either indifferent to my work or else not competent to criticise: so often they would use well-worn phrases taken from current cinema journalese i... I quite often had the feeling that these critics were either indifferent to my work or else not competent to criticise: so often they would use well-worn phrases taken from current cinema journalese instead of talking the film's direct, intimate effect on the audience. (展开)
0 有用 ミミック 2020-05-05 12:14:41
对读快乐！
0 有用 Bejdlxl 2020-03-20 12:19:39
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.