Andrei-tarkovsky - Revision history

Clintxxx: /* Andrei Tarkovsky */

2025-12-16T21:27:44Z

Andrei Tarkovsky

← Older revision		Revision as of 21:27, 16 December 2025
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	'''[Apr. 4, 1932 - Dec. 29, 1986] [see also: ''Stalker, Solaris''] [related: ''Nostalghia, The Sacrifice'']'''		'''[Apr. 4, 1932 - Dec. 29, 1986] [see also: ''Stalker, Solaris''] [related: ''Nostalghia, The Sacrifice'']'''
	----		----
	Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [''[[solaris\|Solaris]]''], the otherwise supernatural, the occult <ref> As evidenced by his fascination with		Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life (''[[solaris\|Solaris]]''), the otherwise supernatural, the occult <ref> As evidenced by his fascination with
	[[ninel-kulagina\|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire [		[[ninel-kulagina\|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire (
	''[[stalker\|Stalker]]'']. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the [[dharma\|Emptiness]]. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In ''The Sacrifice'', the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of ''Nostalghia'', an aimless poet must walk the entire length of an empty mineral bath with an unextinguished candle to prevent the end of the world. The poet's journey lasts a full 17-and-a half-minutes and is filmed in a single shot <ref> Chronologically speaking, his films feature scenes of increasingly brutal duration, limited action, slow-pacing, meticulous framing, and sparse/strange musical scoring. </ref>.		''[[stalker\|Stalker]]''). A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the [[dharma\|Emptiness]]. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In ''The Sacrifice'', the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of ''Nostalghia'', an aimless poet must walk the entire length of an empty mineral bath with an unextinguished candle to prevent the end of the world. The poet's journey lasts a full 17-and-a half-minutes and is filmed in a single shot <ref> Chronologically speaking, his films feature scenes of increasingly brutal duration, limited action, slow-pacing, meticulous framing, and sparse/strange musical scoring. </ref>.

	[[File:Full_Candle_Scene.mp4\|500px]]		[[File:Full_Candle_Scene.mp4\|500px]]

Clintxxx: /* Andrei Tarkovsky */

2025-12-16T21:26:58Z

Andrei Tarkovsky

← Older revision		Revision as of 21:26, 16 December 2025
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	==Andrei Tarkovsky==		==Andrei Tarkovsky==
	[Apr. 4, 1932 - Dec. 29, 1986] [see also: ''Stalker, Solaris''] [related: ''Nostalghia, The Sacrifice'']		'''[Apr. 4, 1932 - Dec. 29, 1986] [see also: ''Stalker, Solaris''] [related: ''Nostalghia, The Sacrifice'']'''
	----		----
	Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [''[[solaris\|Solaris]]''], the otherwise supernatural, the occult <ref> As evidenced by his fascination with		Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [''[[solaris\|Solaris]]''], the otherwise supernatural, the occult <ref> As evidenced by his fascination with

Lmsuarez at 00:15, 15 December 2024

2024-12-15T00:15:16Z

← Older revision		Revision as of 00:15, 15 December 2024
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	~~'''~~Andrei Tarkovsky [Apr. 4, 1932 - Dec. 29, 1986] [see also: ''Stalker, Solaris''] [related: ''Nostalghia, The Sacrifice'']~~'''~~		==Andrei Tarkovsky==
			[Apr. 4, 1932 - Dec. 29, 1986] [see also: ''Stalker, Solaris''] [related: ''Nostalghia, The Sacrifice'']
			----
	Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [''[[solaris\|Solaris]]''], the otherwise supernatural, the occult <ref> As evidenced by his fascination with		Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [''[[solaris\|Solaris]]''], the otherwise supernatural, the occult <ref> As evidenced by his fascination with
	[[ninel-kulagina\|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire [		[[ninel-kulagina\|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire [

Jackof63trades at 23:16, 17 June 2024

2024-06-17T23:16:25Z

← Older revision		Revision as of 23:16, 17 June 2024
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	[[ninel-kulagina\|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire [		[[ninel-kulagina\|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire [
	''[[stalker\|Stalker]]'']. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the [[dharma\|Emptiness]]. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In ''The Sacrifice'', the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of ''Nostalghia'', an aimless poet must walk the entire length of an empty mineral bath with an unextinguished candle to prevent the end of the world. The poet's journey lasts a full 17-and-a half-minutes and is filmed in a single shot <ref> Chronologically speaking, his films feature scenes of increasingly brutal duration, limited action, slow-pacing, meticulous framing, and sparse/strange musical scoring. </ref>.		''[[stalker\|Stalker]]'']. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the [[dharma\|Emptiness]]. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In ''The Sacrifice'', the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of ''Nostalghia'', an aimless poet must walk the entire length of an empty mineral bath with an unextinguished candle to prevent the end of the world. The poet's journey lasts a full 17-and-a half-minutes and is filmed in a single shot <ref> Chronologically speaking, his films feature scenes of increasingly brutal duration, limited action, slow-pacing, meticulous framing, and sparse/strange musical scoring. </ref>.

			[[File:Full_Candle_Scene.mp4\|500px]]

Clintxxx at 21:11, 5 May 2024

2024-05-05T21:11:20Z

← Older revision		Revision as of 21:11, 5 May 2024
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	'''Andrei Tarkovsky [Apr. 4, 1932 - Dec. 29, 1986] [see also: ''Stalker, Solaris''] [''~~related:~~ Nostalghia, The Sacrifice'']'''		'''Andrei Tarkovsky [Apr. 4, 1932 - Dec. 29, 1986] [see also: ''Stalker, Solaris''] [related: ''Nostalghia, The Sacrifice'']'''

	Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [''[[solaris\|Solaris]]''], the otherwise supernatural, the occult <ref> As evidenced by his fascination with		Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [''[[solaris\|Solaris]]''], the otherwise supernatural, the occult <ref> As evidenced by his fascination with
	[[ninel-kulagina\|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire [		[[ninel-kulagina\|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire [
	''[[stalker\|Stalker]]'']. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the [[dharma\|Emptiness]]. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In ''The Sacrifice'', the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of ''Nostalghia'', an aimless poet must walk the entire length of an empty mineral bath with an unextinguished candle to prevent the end of the world. The poet's journey lasts a full 17-and-a half-minutes and is filmed in a single shot <ref> Chronologically speaking, his films feature scenes of increasingly brutal duration, limited action, slow-pacing, meticulous framing, and sparse/strange musical scoring. </ref>.		''[[stalker\|Stalker]]'']. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the [[dharma\|Emptiness]]. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In ''The Sacrifice'', the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of ''Nostalghia'', an aimless poet must walk the entire length of an empty mineral bath with an unextinguished candle to prevent the end of the world. The poet's journey lasts a full 17-and-a half-minutes and is filmed in a single shot <ref> Chronologically speaking, his films feature scenes of increasingly brutal duration, limited action, slow-pacing, meticulous framing, and sparse/strange musical scoring. </ref>.

Jackof63trades at 20:57, 12 April 2024

2024-04-12T20:57:12Z

@@ Line 1: / Line 1: @@
-<p>
+Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his ''oeuvre'' attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [''[[solaris|Solaris]]''], the otherwise supernatural, the occult <ref> As evidenced by his fascination with
-<strong>
+[[ninel-kulagina|Ninel Kulagina]]. </ref>, and the shrouded nature of deep desire [
-Andrei Tarkovsky [Apr. 4, 1932 - Dec. 29, 1986] [see also:
+''[[stalker|Stalker]]'']. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the [[dharma|Emptiness]]. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In ''The Sacrifice'', the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of ''Nostalghia'', an aimless poet must walk the entire length of an empty mineral bath with an unextinguished candle to prevent the end of the world. The poet's journey lasts a full 17-and-a half-minutes and is filmed in a single shot <ref> Chronologically speaking, his films feature scenes of increasingly brutal duration, limited action, slow-pacing, meticulous framing, and sparse/strange musical scoring. </ref>.

Jackof63trades at 22:29, 8 March 2024

2024-03-08T22:29:14Z

← Older revision		Revision as of 22:29, 8 March 2024
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	<em>		<em>
	Stalker, Solaris		Stalker, Solaris
	</em>		</em>] [<em>
	] [		related: Nostalghia, The Sacrifice</em>]
	<em>
	related: Nostalghia, The Sacrifice
	</em>
	]
	</strong>		</strong>
	<br/>		<br/>
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	oeuvre		oeuvre
	</em>		</em>
	attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [		attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [<em>
	<em>		[[solaris\|Solaris]]
	[[solaris]]		</em>], the otherwise supernatural, the occult
	</em>
	], the otherwise supernatural, the occult
	<sup>		<sup>
	1		1
	</sup>		</sup>, and the shrouded nature of deep desire [
	, and the shrouded nature of deep desire [
	~~<em>~~
	~~[[stalker]]~~
	~~</em>~~
	~~]. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the~~
	~~[[dharma]]~~
	~~. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In~~
	<em>		<em>
	The Sacrifice		[[stalker\|Stalker]]
	</em>		</em>]. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the
	, the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of		[[dharma\|Emptiness]]. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In<em> The Sacrifice </em>, the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of
	<em>		<em>
	Nostalghia		Nostalghia
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	</sup>		</sup>
	As evidenced by his fascination with		As evidenced by his fascination with
	[[ninel-kulagina]]		[[ninel-kulagina\|Ninel Kulagina]]
	</p>		</p>
	<p>		<p>
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	</p>		</p>
	</div>		</div>

Jackof63trades: 1 revision imported

2024-03-08T21:44:10Z

1 revision imported

← Older revision	Revision as of 21:44, 8 March 2024
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en>Unknown user at 21:44, 8 March 2024

2024-03-08T21:44:10Z

← Older revision	Revision as of 21:44, 8 March 2024
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		<p>
		<strong>
		Andrei Tarkovsky [Apr. 4, 1932 - Dec. 29, 1986] [see also:
		<em>
		Stalker, Solaris
		</em>
		] [
		<em>
		related: Nostalghia, The Sacrifice
		</em>
		]
		</strong>
		<br/>
		Sculptor of time [filmmaker] and documentarian of dreams [poet], the Russian artist Andrei Tarkovsky spent decades wrestling with the fundamentally ungraspable. The seven films of his
		<em>
		oeuvre
		</em>
		attempt poetic dialogue with what is irrevocably in-between or just beyond reach. Consequently, Tarkovsky's work is marked by a fascination with alien life [
		<em>
		[[solaris]]
		</em>
		], the otherwise supernatural, the occult
		<sup>
		1
		</sup>
		, and the shrouded nature of deep desire [
		<em>
		[[stalker]]
		</em>
		]. A true mystic, Tarkvosky held great reverence for mythological systems, not for their symbology, but for their concrete ability to interact with the
		[[dharma]]
		. Whether through widespread climatological disaster or impending nuclear holocaust, Tarkovsky often used the apocalypse as a McGuffin, presenting strange ritual as its antidote. In
		<em>
		The Sacrifice
		</em>
		, the film's central protagonist copulates with a witch while levitating to end World War III. And at the conclusion of
		<em>
		Nostalghia
		</em>
		, an aimless poet must walk the entire length of an empty mineral bath with an unextinguished candle to prevent the end of the world. The poet's journey lasts a full 17-and-a half-minutes and is filmed in a single shot
		<sup>
		2
		</sup>
		.
		</p>
		<div class="footnote">
		<p>
		<sup>
		1
		</sup>
		As evidenced by his fascination with
		[[ninel-kulagina]]
		</p>
		<p>
		<sup>
		2
		</sup>
		Chronologically speaking, his films feature scenes of increasingly brutal duration, limited action, slow-pacing, meticulous framing, and sparse/strange musical scoring.
		</p>
		</div>

Jackof63trades: 1 revision imported

2024-03-08T21:43:17Z

1 revision imported

← Older revision	Revision as of 21:43, 8 March 2024
(No difference)