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By Robert Bird

Andrei Tarkovsky (1932-1986) used to be one of many nice poets of global cinema. A fiercely self sustaining artist, Tarkovsky crafted poignantly attractive movies that experience confirmed inscrutable and been bitterly disputed. those characteristics are found in abundance in Andrei Rublev (1966), Tarkovsky's first totally mature movie. Ostensibly a biographical research of Russia's most famed medieval icon-painter, Andrei Rublev is either lyrical and epic, starkly naturalistic and allegorical, authentically historic and urgently topical. whereas a lot is still mysterious in Andrei Rublev, critics have lately started to reappraise it as a groundbreaking movie that undermines cozy notions of existence and spirituality. Robert Bird's multifaceted account of Andrei Rublev extends this reevaluation of Tarkovsky's radical aesthetic through setting up the film's historic context and offering a considerably new interpreting of key scenes. chook definitively establishes the film's tortured textual heritage, which has ended in greatly various models. He relates the movie to traditions in Russian artwork and highbrow heritage, yet ultimately his research specializes in Andrei Rublev as a visible and narrative art that treats profound existential questions by means of difficult traditional notions of illustration and imaginative and prescient.

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Extra resources for Andrei Rublev (BFI Film Classics)

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S Chugunova in Tmovskaia, 7;;' Jean Schnitzer, 'l'artiste dans l'ancienne Russe et dans l'URSS nouvelle (Entretien avec Andrei Tarkovsky)', P05itij, Oetober 1969 (109), pp 1-13: 4 31 D S Likhachev, Kul'tura Rusi vremeni Andreia Rubleva l EpifanÚa Premudrogo (Moscow, 1962), pp 49,58 Kirill's alleged quotation from Kostenecki has no analogue in the latter's work and reflects Likhachev's interpretation of his ideas. The quotation atttibuted to Epiphanius can be found in: 'Zhitie Sergiia Radonezhskogo', Pamiatnilei literatury drevner RU5i XIV~¡eredina XV veka (Moscow: Khudozhestvennaia liter atur a, 1981), p 290 32 Tarkovsky, Swlptlng in Time, p 78 33 Ciment etal, 'L'artiste dans l'ancienne Russe', p 9 34 See A Nikol'skii, 'Net dyma bez ognia' , Kroleodilno 27, 1965 35 Tluovskaia, Ti, pp 74-5; Nikulin, 'Strasti po Andreiu', p 551 36 Interview with Aleksandr Misharin on the RusCiCo / Artificial Eye DVD of The (fJ p 116 52 L Soldatov, , Mirror I zapylala korova', Vecherniaza Mosleva, 24 Deeember 1966, 37 Nikolai Glazkov, Platara kmga (Moscow: p 3 Sovetskii pisatel', 1966), pp 39--40; 'Ihe Flying Peasant' is on pp 35-8; other poems on the filming füllow on pp 44-9,57-9 See also his poem 'On the Fiheenth Century' (dedicated te Tarkovsky (Dorogi l ,vezdy.

However, his c10sing words in this speech suggest another framework for his religious and apocalyptic film-making: '1 haven't meant to reveal anything new. Thinking about this in your presence in this way, 1 simply wanted to feel the importance of this moment and this process; and 1 received what 1 desired,,' 90 ,:Jo> (J) (J) (") (J) At a 1984 appearance in London, Tarkovsky pronounced 'A Discourse on the Apocalypse', a free-ranging discussion of St John's Revelation, modern art and art in general, Dostoevsky and Carlos Castañeda, death and love" He dwelt especially on the opening of the seventh seal on the scroll of divine knowledge: 'When He [the Lamb] opened the seventh seal, there was silence in heaven for about haH an hour' (Revelations 8: 1)..

The lack of a clear centre within the cinematic world forms the act of viewership into a bearing of witness, in the sense of both sympathetic observation and testimonial narrative which must continue after the collapse of the evenL 68 The inscription on the cross reads, as on an icon, 'Jesus Christ, the crucifixion of Our Lord'; the incongruent angels in the background of the crucifixion scene Paznting Tarkovsky was clearly fascinated by the spatial form of certain paintings and by their role in cultural memory, speaking at times of the way painterly models can lend authenticity to the cinematic image.

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