Time von tarkovsky andrei (16 Ergebnisse)

paperback. Zustand: Acceptable. Please see the condition note after this for details, if this is missing please consider Acceptable to mean poor quality that could include major staining, water damage, writing, missing dustjacket, etc etc. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.…

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Zustand: Brand New. new edition. 416 pages. 8.25x6.00x1.25 inches. In Stock.

Zustand: New. 2019. New edition. Paperback. . . . . . Books ship from the US and Ireland.

Zustand: New. In English.

Zustand: New. In English.

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Brand New. new edition. 416 pages. 8.25x6.00x1.25 inches. In Stock.

Zustand: New.

Taschenbuch. Zustand: Neu. Neuware - 'Tarkovsky for me is the greatest,' wrote Ingmar Bergman. Andrey Tarkovsky only made seven films, but all are celebrated for its striking visual images, quietly patient dramatic structures, and visionary symbolism. Time within Time is both a diary and a notebook, maintained by Tarkovsky from 1970 until his death. Intense and intimate, it offers reflections on Dostoyevsky, Tolstoy, Hermann Hesse, Thomas Mann, and others. He writes movingly of his family, especially his father, Arseniy Tarkovsky, whose poems appear in his films. He records haunting dreams in detail and speaks of the state of society and the future of art, noting significant world events and purely personal dramas along with fascinating accounts of his own filmmaking. Rounding out this volume are Tarkovsky's plans and notes for his stage version of Hamlet; a detailed proposal for a film adaptation of Dostoyevsky's The Idiot; and a glimpse of the more public Tarkovsky answering questions put to him by interviewers. …

Zustand: New. &Uumlber den AutorAndrey Tarkovsky (1932-86) was an award-winning Soviet filmmaker, writer, film editor, film theorist, theater, and opera director. Kitty Hunter-Blair taught Russian language and literature at Cambridge Un.

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Zustand: gut. Time Within Time: Diaries, 1970-86 In englischer Sprache. pages.

Hard cover. Zustand: Fine in fine dust jacket. Text in English, Russian. Sewn binding. Cloth over boards. 254 p. Audience: General/trade.

[USSR; Italy; Sweden], 1962-1983. Original gelatin silver prints of various sizes, from 17.5 × 10.5 cm to 24 × 30 cm, loose in an archival cardboard box measuring 31 × 31 cm addressed to Propyläen Verlag Berlin. Handwritten notes in pencil and ink to verso of most prints, 25 of the prints with Mosfilm photographer stamps of Vladimir Murashko (19), and Igor' Gnevashev (6), one print signed by A. Antipenko. Some prints slightly warped, slight discoloration along the edges. About very good. A remarkable collection of 112 vintage photographs from the sets of six of Andrei Tarkovsky's films: Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), The Mirror (1974), Stalker (1979), and Nostalgia (1983). Widely considered one of the greatest directors of the twentieth century, Tarkovsky developed an entirely new cinematic language, well captured in this collection of film stills and photographs from his film sets, with some images showing the director at work. Tarkovsky made the present group of photographs available to the German publisher Ullstein in 1985 for the first publication of his book "Die versiegelte Zeit", published in English in 1986 as "Sculpting in time". The book, much like most of Tarkovsky's films, had a troubled history. Tarkovsky's first feature, "Ivan's Childhood" won the Golden Lion at the Venice Film Festival in 1962, earning him the right to film his next ambitious feature "Andrei Rublev", while also making him some enemies within the Soviet film establishment, which selected a film by the influential Sergei Gerasimov for the Venice competition. The making of his next feature, "Andrei Rublev" was especially difficult, with the film not allowed to be shown as part of the official selection at Cannes in 1967 despite the invitation from the Cannes committee. The film became an immediate sensation abroad when it was purchased for distribution by a French company, but would not be fully released in the Soviet Union until 1987. "Solaris" and "The Mirror", were similarly barred from taking part in the official competition at Cannes, as was "Stalker", which would be Tarkovsky's last Soviet-produced film. The book manuscript for "Sculpting in time" was first submitted to the Soviet publisher "Iskusstvo" in 1978 by Tarkovsky and Olga Surkova, a film critic and co-author on the manuscript, during the filming of Stalker. The book was rejected for publication, likely due to the ongoing conflicts between the director and the Soviet film establishment. His next feature, Nostalgia, was filmed in Italy, where the director chose to remain after the film's completion in 1984. A redacted version of the original manuscript of his book was finally accepted by the German publisher in the same year, with the German language translation becoming the first definitive publication of the book. Many of the prints in this group include handwritten notes to the reverse to indicate the proportions that the images were to have on the pages of the book. In the final version, some images appear exactly as indicated in the notes, while others apparently intended for inclusion are left out entirely, offering insight into the editorial decisions about images used to accompany the theoretical texts, likely made in close collaboration with the director. Only a portion of the images in this collection made it into the final book version. Many of the photographs are stamped with the names of Mosfilm studio photographers Vladimir Murashko and Igor' Gnevashev. Both photographers worked on the sets of major Soviet features, with Gnevashev also active as an art photographer. Images from "The Mirror", which was named one of the best films of all time by Sight & Sound in 2012, are especially well represented in the collection, with Igor' Gnevashev's stamp to five of the prints. Gnevashev's hand-written date and title annotation to recto trace Tarkovsky's changes of the title of the film, from "Ispoved'" in August 1973, to "Belyi, belyi den'" in September of that year, working titles of the film before it was released as "Mirror". The collection also includes 20 prints stamped by Vladimir Murashko. Murashko's work on the set of "Stalker" was noted by Sergei Bessmertny, one of the technical assistants on the film: "From the beginning to the end of the filming of this movie, and in 1977, and 1978, Mosfilm's staff photographer Vladimir Markovich Murashko (now deceased) worked on set and, as was customary, captured every significant shot of the film, as well as behind-the-scenes moments from the shoot. He had a high-quality Hasselblad camera with a 6 × 6 cm frame format. But of the stills from the filming of this movie that I've come across in books, periodicals, and on the Internet, there are only a few that I would tentatively attribute to him. It would be interesting to find out what happened to the rest of his photographs". This collection appears to contain the greatest number of Murashko prints on Tarkovsky's sets outside of Russia. One of the prints of Tarkovsky in this collection is signed by the Soviet cinematographer Aleksandr Antipenko, famous for his cinematographic work with other Soviet auteurs such as Sergei Parajanov, Larisa Shepit'ko, and Tengiz Abuladze. Tarkovsky initially invited Antipenko to work as a cinematographer on "Stalker", but ended up working with Gregory Rerberg instead. Antipenko went on to document Tarkovsky in life and on set, and published an album of photographs of the director in 2007. The autographed print in this collection made by Antipenko on the set of "Stalker" was later used as a cover image on another book about the director. In November 2012, Reuters reported a Sotheby's sale of the complete archive connected with the publication history of the book that would become "Die versiegelte Zeit" from the collection of Tarkovsky's co-author Olga Surkova for a record 2.5 million. The archive was purchased by the government of Ivanovo Region where Tarkovsky was born, which outbid.…