{"}
Sheep spend their whole life fearing the wolf, only to be eaten by the shepherd
Russia in not just a country, it's a whole civilization
It is unfair on China to call it an empire... China has not invaded anyone... They have not done regime change, they have not crushed democracies in Greece, Iran, all of Latin America They have not killed millions of people in cruel wars
tiistai 18. maaliskuuta 2014
5 kommenttia:
Anonyymi
kirjoitti...
Nothing spookier than the thunder-thwack of ice cracking under your feet. pic.twitter.com/v2tw0oYe5O
une 1970. In the same year, he married Larissa Kizilova (née Egorkina), who had been a production assistant for the film Andrei Rublev (they had been living together since 1965). Their son, Andrei Andreyevich Tarkovsky, was born in the same year on 7 August.[4] In 1972, he completed Solaris, an adaptation of the novel Solaris by Stanisław Lem. He had worked on this together with screen-writer Fridrikh Gorenshtein as early as 1968. The film was presented at the Cannes Film Festival, won the Grand Prix Spécial du Jury and the FIPRESCI prize, and was nominated for the Palme d'Or. From 1973 to 1974, he shot the film The Mirror, a highly autobiographical and unconventionally structured film drawing on his childhood and incorporating some of his father's poems. Tarkovsky had worked on the screenplay for this film since 1967, under the consecutive titles Confession, White day and A white, white day. From the beginning the film was not well received by Soviet authorities due to its content and its perceived elitist nature. Russian authorities placed the film in the "third category," a severely limited distribution, and only allowed it to be shown in third-class cinemas and workers' clubs. Few prints were made and the film-makers received no returns. Third category films also placed the film-makers in danger of being accused of wasting public funds, which could have serious effects on their future productivity.[5] These difficulties are presumed to have made Tarkovsky play with the idea of going abroad and producing a film outside the Soviet film industry.[6] During 1975, Tarkovsky also worked on the screenplay Hoffmanniana, about the German writer and poet E. T. A. Hoffmann. In December 1976, he directed Hamlet, his only stage play, at the Lenkom Theatre in Moscow. The main role was played by Anatoly Solonitsyn, who also acted in several of Tarkovsky's films. At the end of 1978, he also wrote the screenplay Sardor together with the writer Aleksandr Misharin. The last film Tarkovsky completed in the Soviet Union was Stalker, inspired by the novel Roadside Picnic by the brothers Arkady and Boris Strugatsky. Tarkovsky had met the brothers first in 1971 and was in contact with them until his death in 1986. Initially he wanted to shoot a film based on their novel Dead Mountaineer's Hotel and he developed a raw script. Influenced by a discussion with Arkady Strugatsky he changed his plan and began to work on the script based on Roadside Picnic. Work on this film began in 1976. The production was mired in troubles; improper development of the negatives had ruined all the exterior shots. Tarkovsky's relationship with cinematographer Georgy Rerberg deteriorated to the point where he hired Alexander Knyazhinsky as a new first cinematographer. Furthermore, Tarkovsky suffered a heart attack in April 1978, resulting in further delay. The film was completed in 1979 and won the Prize of the Ecumenical Jury at the Cannes Film Festival. In the same year Tarkovsky also began the production of the film The First Day (Russian: Первый День Pervyj Dyen′), based on a script by his friend and long-term collaborator Andrei Konchalovsky. The film was set in 18th-century Russia during the reign of Peter the Great and starred Natalya Bondarchuk and Anatoli Papanov. To get the project approved by Goskino, Tarkovsky submitted a script that was different from the original script, omitting several scenes that were critical of the official atheism in the Soviet Union. After shooting roughly half of the film the project was stopped by Goskino after it became apparent that the film differed from the script submitted to the censors. Tarkovsky was reportedly infuriated by this interruption and destroyed most of the film.[7]
kovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another. Up to, and including, his film The Mirror, Tarkovsky focused his cinematic works on exploring this theory. After The Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day. Several of Tarkovsky's films have color or black and white sequences. This first occurs in the otherwise monochrome Andrei Rublev, which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in Stalker's case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life
On ‘Sun-like’ Stars
-
[image: On ‘Sun-like’ Stars]
The thought of a planet orbiting a Sun-like star began to obsess me as a
boy, when I realized how different all the planets i...
Illustrator Spotlight: Kemal Sanli
-
Brief Bio: I’m a designer and illustrator from Istanbul, creating work that
lives somewhere between nature and abstraction. I’m drawn to simple shapes,
sof...
Big New RAW Biography
-
Robert Anton Wilson (1932 -- 2007)“There is so much mystery and ambiguity
about everything, maybe that’s why there’s so much in my novels. But why
else do...
Isabel’s “Time Ecosystem”
-
Barb and I went to Mexico for a couple of weeks in January, 2025, on the
Yucatan peninsula. I’ll blog some photos from there later, but today I want
to w...
Mistakenly believe them to be who they are
-
According to Buddhist teachings, the attachment to the five aggregates
(form, feeling, perception, mental formations, and consciousness) and the
identifica...
Time, Life and Concience
-
If you think about space as an endless 3d image, you are mistaken: Space
cannot be considered without time, and time-space is an endless river, ever
changi...
One word that will define my whole year
-
And so, here we are, the new Roaring 20s began… Only a few days in and
already watching the news makes me want to hide under the duvet, eating
chocolate ...
star polygon fun
-
Star and compound polygons are pretty mathematical objects that are fun to
draw or create in code.
*star and compound polygonson 2 to 9 vertices*
You migh...
Believing everyone else is wrong is a danger sign
-
I have a guest post for the Research Digest, snappily titled ‘People who
think their opinions are superior to others are most prone to
overestimating their...
Epälineaarinen narratiivi
-
To all in the village I seemed, no doubt,
To go this way and that way, aimlessly.
But here by the river you can see at twilight
The soft-winged bats fly zi...
Retiring this blog, sort of
-
I have pretty much retired this blog and have switched to posting shorter
notes to Facebook and Twitter.
Writing a blog was occasionally fun but ultimately...
Miserable Bastard Syndrome
-
*The sky is bothering me on this one. I can't tell whether to keep it,
replace it with a flat gray, or use a smooth gradient. I hate it when a
creative p...
nyljetyt ajatukset
-
Sain käsiini, pideltäväksi ja luettavakseni, lukijoiden rakastaman kirjan.
Mistä sen tietää, että kirjaa on rakastettu? Sen kannet ovat pehmeät ja …
Lue lo...
Vladimir Bobri
-
Today's post showcases works by the painter, illustrator, and poster artist Vladimir
Bobritsky
(or Bobri, as he came to be known). Born in a wealthy fa...
Marx Reloaded
-
The Centre for Ideology Critique and Žižek Studies and the
Inter-disciplinary Psychosocial Seminar Series presents a screening of Marx
Reloaded followed by...
DGA On Wilberism
-
Daniel Gustav Anderson has this to say about post-Wilberian integral theory
in a recent blog post over at For The Turnstiles:
My position is that Wilber's ...
Kansan Uutiset palvelee paremmin
-
Vähän yli neljä vuotta ja paria vaille 400 juttua on ilmestynyt täällä.
Mutta nyt blogin päivittäminen päättyy. Tämä on viimeinen postaus.
Syynä on se, e...
Lepo
-
Niille mahdollisille lukijoille, jotka lähipäivinä ihmettelevät, ettei
uutta tekstiä tähän blogiin ole ilmestynyt, kerron, että olen
kansalaisvelvollisuude...
5 kommenttia:
Nothing spookier than the thunder-thwack of ice cracking under your feet. pic.twitter.com/v2tw0oYe5O
une 1970. In the same year, he married Larissa Kizilova (née Egorkina), who had been a production assistant for the film Andrei Rublev (they had been living together since 1965). Their son, Andrei Andreyevich Tarkovsky, was born in the same year on 7 August.[4]
In 1972, he completed Solaris, an adaptation of the novel Solaris by Stanisław Lem. He had worked on this together with screen-writer Fridrikh Gorenshtein as early as 1968. The film was presented at the Cannes Film Festival, won the Grand Prix Spécial du Jury and the FIPRESCI prize, and was nominated for the Palme d'Or. From 1973 to 1974, he shot the film The Mirror, a highly autobiographical and unconventionally structured film drawing on his childhood and incorporating some of his father's poems. Tarkovsky had worked on the screenplay for this film since 1967, under the consecutive titles Confession, White day and A white, white day. From the beginning the film was not well received by Soviet authorities due to its content and its perceived elitist nature. Russian authorities placed the film in the "third category," a severely limited distribution, and only allowed it to be shown in third-class cinemas and workers' clubs. Few prints were made and the film-makers received no returns. Third category films also placed the film-makers in danger of being accused of wasting public funds, which could have serious effects on their future productivity.[5] These difficulties are presumed to have made Tarkovsky play with the idea of going abroad and producing a film outside the Soviet film industry.[6]
During 1975, Tarkovsky also worked on the screenplay Hoffmanniana, about the German writer and poet E. T. A. Hoffmann. In December 1976, he directed Hamlet, his only stage play, at the Lenkom Theatre in Moscow. The main role was played by Anatoly Solonitsyn, who also acted in several of Tarkovsky's films. At the end of 1978, he also wrote the screenplay Sardor together with the writer Aleksandr Misharin.
The last film Tarkovsky completed in the Soviet Union was Stalker, inspired by the novel Roadside Picnic by the brothers Arkady and Boris Strugatsky. Tarkovsky had met the brothers first in 1971 and was in contact with them until his death in 1986. Initially he wanted to shoot a film based on their novel Dead Mountaineer's Hotel and he developed a raw script. Influenced by a discussion with Arkady Strugatsky he changed his plan and began to work on the script based on Roadside Picnic. Work on this film began in 1976. The production was mired in troubles; improper development of the negatives had ruined all the exterior shots. Tarkovsky's relationship with cinematographer Georgy Rerberg deteriorated to the point where he hired Alexander Knyazhinsky as a new first cinematographer. Furthermore, Tarkovsky suffered a heart attack in April 1978, resulting in further delay. The film was completed in 1979 and won the Prize of the Ecumenical Jury at the Cannes Film Festival.
In the same year Tarkovsky also began the production of the film The First Day (Russian: Первый День Pervyj Dyen′), based on a script by his friend and long-term collaborator Andrei Konchalovsky. The film was set in 18th-century Russia during the reign of Peter the Great and starred Natalya Bondarchuk and Anatoli Papanov. To get the project approved by Goskino, Tarkovsky submitted a script that was different from the original script, omitting several scenes that were critical of the official atheism in the Soviet Union. After shooting roughly half of the film the project was stopped by Goskino after it became apparent that the film differed from the script submitted to the censors. Tarkovsky was reportedly infuriated by this interruption and destroyed most of the film.[7]
kovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.
Up to, and including, his film The Mirror, Tarkovsky focused his cinematic works on exploring this theory. After The Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.
Several of Tarkovsky's films have color or black and white sequences. This first occurs in the otherwise monochrome Andrei Rublev, which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in Stalker's case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life
http://laadunvalvontayksikko.blogspot.gr/
https://www.blogger.com/profile/17426631099997340031 lkinkejä
Lähetä kommentti