[images from here, here and here]
Andrei Tarkovsky.
By reading an auteur study on Tarkovsky, it is, in a way, my method of opening my heart to contemplative cinema. The breadth of Tarkovsky's work is as absorbing as the book entitled Films by Andrei Tarkovsky: A Visual Fugue by Vida T. Johnson and Graham Petrie. I borrowed it from the library and i am much willing to make an effort to read it this week with enough enthusiasm to give honor to a director of contemplative cinema.
When one speak of an artist from Russia, i often think of my obsession with Russian writers (see ABOUT ME). Russians, a realization from reading Brothers Karamazov, are fond of contemplation, it seemed as though it is their fundamental way of life, their breather. Though Sergei Eisenstein may not be into long takes, still has contemplative tendencies especially in Battleship Potemkin (1925) due to the startling imagery Eisenstein employed.
Andrei Takovsky has a different approach to contemplation. His images are poetically charge, contrary to other contemplative artists who are obsessed with minimalism and the deconstruction of one's subject into mundane reality. One can look Tarkovsky similar to Kiarostami and Ozu: some few artists whose views in cinema are not only limited to the tenets of filmmaking but also to the concepts beyond this provocative regime. They often have a tendency to employ metaphysical overtones. Such is Kiarostami on The Wind will Carry Us (1999).
Kiarostami and Tarkovsky both has a unique eye for framing. Most of their frames are like visual paintings. In my previous post, Kiarostami identified Five (2003) much like painting. Some other directors have attempted to approach framing as a way of painting. No one cannot deny how the mise-en-scene of Wong Kar-Wai's Happy Together (1997) looked much like a painting, or maybe because it appealed that way.
Rembrandt's The Return of the Prodigal Son.
In the last scene at Tarkovsky's Solaris, at exactly 3:55 of the video clip below, one can say that this is Rembrandt. This is also observed by a certain youtube commentator mbmsv. Tarkovsky made a tangential appeal, almost a comparative analogy, to The Return of the Prodigal Son by Rembrandt. The video below manifests some of the most unforgetable and unique cinematographic techniques in cinema.
Last scene of Solaris.
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I will visit the local videoteque tomorrow if i have time. I'm adjusting my blogging schedule, trying to fit it in between my hardcore chemical engineering studies, my PSYSC org work, and my UP Sorgogueños officer work (well, i'm glad to announce that i am the incumbent FINANCE OFFICER of the organization, wohoooo! Money come to me!)
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Penelope waiting for ULYSSES.
I stopped reading ULYSSES! Too bad, i was at Episode 16. I will get back to it when i feel the urge.
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Ciao!
I will visit the local videoteque tomorrow if i have time. I'm adjusting my blogging schedule, trying to fit it in between my hardcore chemical engineering studies, my PSYSC org work, and my UP Sorgogueños officer work (well, i'm glad to announce that i am the incumbent FINANCE OFFICER of the organization, wohoooo! Money come to me!)***
Penelope waiting for ULYSSES.
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Ciao!
