Andrey Tarkovsky's Movie View And Its Cultural Character

Andrey Tarkovsky is one of the most famous film directors throughout the world. He has made great contributions in film theories and creation, and becomes one of the focuses in researches. The research object of this thesis is Tarkovsky's movie view; it means the total opinion of Tarkovsky's movie view. This thesis tries to combine Tarkovsky's film conceptions and art practice on the basis of the previous study on him, in order to describe more clearly the very core of his movie view. This thesis also puts him in the background as Russian cultural tradition to interpret the cultural character of his movie view. Tarkovsky's movie view is based on his image ontology that is different from both Sergei Eisenstein and Andre Bazin. Tarkovsky regard films as sculpting in time, and the essence of films is recording realistic time including the character's mentation, because this is also an important part of reality. Tarkovsky's movie view materializes in his movies, which make his films present differences in narrative structure that dreams and reality are complected and esthetics style that symbolistic montage are used widely. And then, Tarkovsky's movie view emphasizes the value of films is exaltation of personal existential significance. Tarkovsky's movie view is closely linked his cultural background. The great Russian cultural tradition is the matrix of Tarkovsky's mind. In my opinion, Russian notion and Holy fool culture are the two most obvious character of Tarkovsky's movie view. Tribulation thought, sacrifice thought and salvation thought, mysticism, which are involved in Russian notion, have affected Tarkovsky's movie view strongly. Withal, Holy fool culture is very important in the course of creation of Tarkovsky's movie view. The abundance content and connotative meaning of Tarkovsky's movie view is very helpful for us.