Christie, Ian (2008) The long road to freedom. Sight & Sound 18 (1), p. 10. ISSN 0037-4806.Full text not available from this repository.
The genius of Andrei Tarkovsky owed much to the limitations and freedoms associated with being a Soviet filmmaker. In 1981, before the Soviet system started to crumble and before his defiant self-imposed exile, Tarkovsky walked a tightrope between being the USSR's highest profile director and a reproach to its values. He and his contemporaries felt able to challenge everything their parents had to accept in order to survive, and the outcome, in Tarkovsky's debut, Ivan's Childhood (1962), is a haunting, poetic evocation of innocence viciously betrayed. Nonetheless, his major genre piece of the mid-1960s, Andrei Rublev, is stunning proof of Soviet cinema's willingness to support a director's vision, and Solaris (1972), benefited from the Soviet vogue for science fiction and an association with the country's space program. Indeed, Soviet culture was Tarkovsky's culture, and it was that multilayered culture of secrecy and ambiguity that produced his finest work, The Mirror (1974), which addresses the legacy of Stalin's Terror.
|School or Research Centre:||Birkbeck Schools and Research Centres > School of Arts > History of Art and Screen Media|
|Date Deposited:||17 May 2011 10:40|
|Last Modified:||17 Apr 2013 12:19|
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