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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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Table of Contents

IntroductionChapter I: The beginningChapter II: Art-a yeaming for the idealChapter III: Imprinted timeChapter IV: Cinema's destined roleChapter V: The film imageTime, rhythm and editingScenario and shooting scriptThe film's graphic realisationThe film actorMusic and noisesChapter VI: The author in search of an audienceChapter VII: The artist's responsibilityChapter VIII: After NostalgiaChapter IX: The SacrificeConclusionNotes

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Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films

Reviews

Tarkovsky, who died in exile in 1986, was considered by some Western film critics to be one of Russia's foremost latter-day filmmakers. His image-rich nonlinear style was apparently little understood or appreciated in his own country and his films received poor distribution. Tarkovsky elaborates in much detail on his theory of filmmaking, including editing, music, film acting, and what he calls ``rhythm,'' which he considers the dominant factor. The translation appears to be excellent, but the book would have benefited greatly from an introductory essay setting the director's aesthetics and career in perspective. An important addition for large cinema collections. Roy Liebman, California State Univ. Lib., Los Angeles

"If Sculpting in Time could be distilled to a single message, it would be this: Content and conscience must come before technique - for any artist in any art form." Los Angeles Times Book Review

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