Andrei RublevBloomsbury Academic, 20 déc. 2004 - 87 pages Andrei Tarkovsky (1932-1986) was one of the great poets of world cinema. A fiercely independent artist, Tarkovsky crafted poignantly beautiful films that have proven inscrutable and been bitterly disputed. These qualities are present in abundance in Andrei Rublev (1966), Tarkovsky's first fully mature film. Ostensibly a biographical study of Russia's most famous medieval icon-painter, Andrei Rublev is both lyrical and epic, starkly naturalistic and allegorical, authentically historical and urgently topical. While much remains mysterious in Andrei Rublev, critics have recently begun to reappraise it as a groundbreaking film that undermines comfortable notions of life and spirituality. Robert Bird's multifaceted account of Andrei Rublev extends this reevaluation of Tarkovsky's radical aesthetic by establishing the film's historical context and presenting a substantially new reading of key scenes. Bird definitively establishes the film's tortured textual history, which has resulted in two vastly different versions. He relates the film to traditions in Russian art and intellectual history, but finally his analysis focuses on Andrei Rublev as a visual and narrative artwork that treats profound existential questions by challenging conventional notions of representation and vision. |
Table des matières
HatchGoad | 6 |
From Rublev to Rublev | 12 |
2 | 23 |
Droits d'auteur | |
2 autres sections non affichées
Autres éditions - Tout afficher
Expressions et termes fréquents
According action aesthetic Andrei Rublev Andrei Tarkovsky Andronikov Monastery angels appears artist becomes beginning bell BFI FILM Boriska called camera Cathedral centre characters Christ church cinema CLASSICS colour completely crucifixion cultural Daniil death depicting detail discontinuities early edit Efim episode event example express eyes film's final follows Foma four frame gaze historical holy fool icon imagination jester kind Kirill Kirill's Konchalovskii Last later leave London look meaning minutes Monastery monks Moscow narrative Nikolai original painting perhaps plot precisely present Prince Prologue reality release religious remains reveal river role Russian scene screen screenplay seems sense sequence shape shot shown shows silence similar Soviet spiritual St Sergius stone story stressed structure suggests Tarkovsky's Theophanes tradition trans Trinity truth viewer vision Vladimir window witness woman young