Andrei Tarkovsky

about historical realism or exposing the everyday as it really is. Cinema is unavoidably an especially paranoid representation of experience. Sculpture hewn in time resembles everyday events no more than wood sculpture does stumps. What makes Tarkovsky interesting might be gotten at in terms of doors and windows. Dalle Vacche[1] approaches the array of moments and differences in the style: Tarkovsky’s refusal to attach these faces to a situation, to a decision, or to an exchange of looks with

Activist Dr. Andrei Sakharov was a leading developer of Soviet nuclear weapons. As he progressed through life he began working towards international peace and basic human freedoms for the people of the Soviet Union. In recognition of this work, Dr. Sakharov was awarded the Nobel Prize for Peace. Dr. Sakharov’s contributions to the Soviet weapons program and his public communications of the dangers of nuclear weapons helped to prevent nuclear war between the US and Soviet super powers. Andrei Sakharov

The 1972 science fiction film, Solaris, directed by Andrei Tarkovsky, follows Kris Kelvin's expedition to a space station that orbits the remote planet of Solaris. As Kris joins a small crew of scientists at the space station, he learns about the unique ability of Solaris. Visitors are created from the deepest memories of the men on board. The planet manifest Hari, Kris's late wife who committed suicide. Solaris highlights some of the greatest humankind questions: What is love? What does the human

The 1979 science fiction film Stalker, directed by legendary Soviet filmmaker Andrei Tarkovsky, is a film which contributes to historical understanding by being a product of its time through which we can examine Soviet anxieties on the concepts of freedom and religion. For many Soviet audiences, Stalker presented itself as an allegory for the yearning for greater freedom: personal, artistic and ideological freedom depending on the personal interpretation one ascribes to the film. Its titular character’s

The 1979 science fiction film Stalker, directed by legendary Soviet filmmaker Andrei Tarkovsky, is a film which contributes to historical understanding by being a product of its time. For many individuals in Soviet audiences, Stalker presented itself as an allegory for the yearn for greater freedom: personal, artistic or ideological freedom depending on the interpretation one ascribes to the film. Stalker’s titular character’s obsession with the the Zone, a paradise-like location, resonated with

a beautifully vast place; it primarily contains the uninhabited steppe and the demolition that occurred during World War II. In the two notorious pieces of Russian literature, “The Steppe” by Anton Chekhov and Ivan’s Childhood by Andrei Tarkovsky, Chekhov and Tarkovsky utilize the landscape and surroundings of World War II Russia to reference that as children, there is only a thin line between imagination and reality. Their imaginations account for the overstimulation,

Does our increasingly mechanized world cause us to feel alienated? It can be argued that life has never been so easy. We are surrounded by plentitudes. food is freely available in the West. Information is taken for granted, and we often dont want for nothing. Yet there are signs and many reasons to suggest that we are far from happy despite this new age of overabundance and the freedom it affords us. Life in this age is unsatisfying for many, with people exhibiting clear signs of dissastisfaction

A massive departure from their predecessors in the genre, these post-Stalinist films examined war’s effects on the individual level. For example, in The Fate of a Man, Andrei Sokolov’s constant ruminations on war’s pointlessness, and his breakdown following his son’s death at the front, were revolutionarily humanistic depictions of war’s consequence in Soviet cinema. Another hitherto avoided theme brought to the forefront

Introduction: The objective of this essay is to analyse specific elements distinctive to Andrei Tarkovsky’s 1962 film ‘Ivan’s Childhood’. Tarkovsky is considered by some as the most influential and successful director in Soviet history (Gillespie 1993). ‘Ivan’s Childhood’ was produced during the “thaw” period in the Soviet Union. This essay will argue that through cinematic techniques; Tarkovsky effectively communicates to the responder the horror and fear experienced by the protagonist, Ivan,

favorite, "cinéma d'auteur" is my pick. It hardly defines a concrete genre, but this is where fine artists typically forge their own distinctive genres or vocabularies. These offer the most authentic, enriching and indescribable experiences. Andrei Tarkovsky and David Lynch exemplify