The Mirror of Time and Memory.
Live in the house-and the house will stand.
I will call up any century,
Go into it and build myself a house
With shoulder blades like timber props
I help up every day that made the past,
With a surveyor's chain I measure time
And traveled through as if across the Urals.
I only need my immortality
For my blood to go on flowing from age to age.
I would readily pay with my life
For a safe place with constant warmth
Were it not that life's flying needle leads me on Through the world like a thread.
Arseniy Tarkovsky
The films of Andrey Arsen'evitch Tarkovsky fall into the separate genre of cinematic creations: they are more than drama or psychological thriller, more than philosophical cinema. Although Tarkovsky's work has been deeply influenced with such prominent film directors as Kurosawa, Bunuel or Antonioni, the poetry of his father, Arseniy Tarkovsky, Boris Pasternak and many other Russian poets and writers, his films manage to form something completely unique to the mind of their director, convey a diaphanous psychological message. His cinematography is a celebration, a theatre of "imprinted time," trapped with the skillful techniques of the plot-creating and camera usage of the director. As if in the Zone' of his Staler the art of Andrey Tarkovsky freezes the moment, the gasp of time, enclosed into almost sculpture-like solid creation that opens up to the viewer its nostalgic breeze. The time exists, it crystallizes in form of faerie, elfish arabesque figures and characters and yet it evaporates filling the space with a sense of solitude and sorrow for the past.
Tarkovsky's film Zerkalo or otherwise known as Mirror is a story of the human life; it is not quite a celebration of it; but rather a depiction of the web of the human senses. It is an autobiographic tribute to his abandoned by her husband during the war years mother, filled with the feelings of grief and amusement with her zealous... [continues]
Live in the house-and the house will stand.
I will call up any century,
Go into it and build myself a house
With shoulder blades like timber props
I help up every day that made the past,
With a surveyor's chain I measure time
And traveled through as if across the Urals.
I only need my immortality
For my blood to go on flowing from age to age.
I would readily pay with my life
For a safe place with constant warmth
Were it not that life's flying needle leads me on Through the world like a thread.
Arseniy Tarkovsky
The films of Andrey Arsen'evitch Tarkovsky fall into the separate genre of cinematic creations: they are more than drama or psychological thriller, more than philosophical cinema. Although Tarkovsky's work has been deeply influenced with such prominent film directors as Kurosawa, Bunuel or Antonioni, the poetry of his father, Arseniy Tarkovsky, Boris Pasternak and many other Russian poets and writers, his films manage to form something completely unique to the mind of their director, convey a diaphanous psychological message. His cinematography is a celebration, a theatre of "imprinted time," trapped with the skillful techniques of the plot-creating and camera usage of the director. As if in the Zone' of his Staler the art of Andrey Tarkovsky freezes the moment, the gasp of time, enclosed into almost sculpture-like solid creation that opens up to the viewer its nostalgic breeze. The time exists, it crystallizes in form of faerie, elfish arabesque figures and characters and yet it evaporates filling the space with a sense of solitude and sorrow for the past.
Tarkovsky's film Zerkalo or otherwise known as Mirror is a story of the human life; it is not quite a celebration of it; but rather a depiction of the web of the human senses. It is an autobiographic tribute to his abandoned by her husband during the war years mother, filled with the feelings of grief and amusement with her zealous... [continues]
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