| Title of the article: |
Tarkovsky’s film Andrey Rublev and the audiovisual paradoxicalityof its final part |
| Author(s): |
MIKHEEVA JU. V. |
| Section: |
Theory and History of Art |
| Year: |
2014 |
| Issue: |
№1 (31) |
| Pages: |
150-158 |
| Index UDK: |
7.01 |
| Index BBK: |
85.37 |
| Abstract: |
The film Andrey Rublev (1966) by outstanding Russian director Andrey Tarkovsky is not only a cinematographic masterpiece. It also opens a new phase in the history of religion representation on the screen in Soviet Russia. During previous decades any religious motives were permanently censured by state authority. The appearance of religious theme in films was permitted only in negative evaluative context, but mostly it was pitilessly cut from the films. But in the 1960-ies the official attitude to the religion (including Orthodox Christianity) became more tolerant due to the general changes in Soviet society. The art language of Tarkovsky’s film reflected these changes of social consciousness in spite of numerous censure notes and corrections it underwent. Innovation of Tarkovsky’ art language is the most visibly seen in its final part, where audiovisual paradoxicality leads to the understanding of its philosophical conception. |
| Keywords: |
TARKOVSKY, AUDIOVISUAL FILM CONCEPTION, RELIGION IN CINEMA, CHRISTIAN MOTIVES IN CINEMA FILM |
| Bibliography: |
1 Tarkovskaia M. Oskolki zerkala [Splinters of mirror]. Moscow, Vagrius Publ., 2006. 416 p. 2 Tarkovskii A. Uroki rezhissury [Film direction lessons]. Moscow, VIPPK Publ., 1993. 92 p. 3 Florenskii P. Ikonostas [Iconostasis]. St. Petersburg, Azbuka-klassika Publ., 2010. 224 p. 4 Khristianskii kinoslovar’. 1909–1999 [Christian cinema dictionary. 1909–1999], avt.- sost. V. Semerchuk; ed. V. Antropov, E. Barykin; rukovoditeli proekta V. Malyshev, V. Dmitriev. Moscow, Gosfil’mofond Rossii Publ., 2000. 279 p., il. |
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