277:, Louis Menashe praised the book as "a welcome addition, easily the best in English, to the literature" on Tarkovsky, and a âlucid, level-headed guideâ. He found their reflections on his work much more helpful than those of the filmmaker himself, and said the writers overly excuse his inaccessibility but offer appropriately measured praise of his cinematic style. Menashe also praised the book for avoiding jargon and declared, "For Tarkovsky lovers as well as haters, this is an essential book. It might make even the haters reconsider." Christopher Sharrett, Professor of Film Studies at Seton Hall University, wrote, "Of the many books on Tarkovsky (some merely picture books or treatises bent on proving an obvious or eccentric theory), this seems to me the most useful".
28:
307:
creating an unclear point, and some failures to recognize certain symbols as having multiple interpretations. While reporting that in many ways "attention to detail is a major characteristic of the study", the reviewer said that
Tarkovsky's political views and the Christian elements in his work weren't discussed enough, and criticized the scholars for evaluating Tarkovsky's "ideological credo" from Western standpoint.
315:
of biographical criticism needed to prove that the relevant life details explain the art. She argued that
Johnson and Petrie overly read Tarkovsky's later work as spiritual rather than place it "within a social, cultural, personal and political context". Synessios also regarded a term used to characterize the filmmaker's work as both an ill-defined term and a mischaracterization.
294:
attacks on other critics at times verge on the pedantic." He claimed that Mark Le Fanu and Ian
Christie had already demonstrated Tarkovsky wasn't a true martyr, and said the agreement of Johnson and Petrie with KovĂ cs and SzilĂ gy is the "closest the authors come to a general interpretive framework". Ultimately, he said
314:
contains a "more detailed and richer analysis of his films" than previous studies. She also claimed that "many prevalent mistakes are set right". However, she argued that some of their biographical readings of film scenes are unconvincing because the book's general scope precludes the thorough sort
293:
Russell
Campbell reported that Johnson and Petrie bring "industrious and rigorous scholarship" to the task of establishing the facts of Tarkovsky's career and recording his works' details; however, he argued that "the book's reluctance to move beyond basic description tends to leave a void, and the
267:
in a way that is "exhaustive their descriptive and cultural-historical analysis operating at its finest". Totaro claimed that the overall book contains "a wealth of new research and critical insight
Johnson and Petrie have written what is, and will likely remain for some time, the definitive book
195:
is also discussed), each chapter centers on one individual work. It includes information on the scripting, production history, release, and critical reception of the film, followed by the authors' analysis of the film. They aim to avoid overly speculative interpretations of his works, and criticize
289:
referred to the book as "a model of contextual and textual analysis" that reveals the thematic structure and coherence of his work. The reviewer also argued that in the discussions of individual films in part two, myths created and sustained by a number of earlier
Western writers "are politely but
229:
According to one reviewer, the scholars view
Tarkovsky as an artist who, over the course of his career, increasingly suppresses or sublimates his feelings "into an austere and rigid spirituality"; they also consider his importance as a filmmaker to lie largely in his successful creation of "dream
137:
While some film scholars took issue with the authorsâ evaluation of
Tarkovsky's film writings or with certain claims they make about Tarkovsky himself, the book was widely acclaimed for its detail and was described by multiple writers as the best English-language study of the filmmaker up to that
284:
said that
Johnson and Petrie understand the director's intentions, as well as the cultural and political context in which he worked. He also stated that "they help the reader to make sense of obscure references manage to deal with their difficult subject matter without ever resorting to jargon
323:
throughout their evaluation of
Tarkovsky's film writings (stating they should be viewed in the context of Marxist-Soviet aesthetic criticism instead). He also said they overly assume that a detail from his life has the same role in a film as in his life, criticizing the guess about Tarkovsky's
318:
David Pratt criticized the book. He said some points of "significant nuance" are made successfully, and that the interviews with people connected to Tarkovsky illuminate his aesthetic intentions well. However, Pratt deemed Tarkovsky more influenced by others than Johnson and Petrie imply, and
306:
Dina Iordanova wrote that Tarkovskyâs view of himself as a martyr was more justified than Johnson and Petrie imply, saying that his difficulties at home were more serious than the ones he had when working for Western producers. Iordanova also argued that there is sometimes an excess of detail
168:. In the first chapter (called "A Martyred Artist?"), Johnson and Petrie argue that the idea of Tarkovsky as a "martyred artist" is a myth constructed largely by the filmmaker himself; they note that various other Soviet directors were treated much worse (such as
149:
consists of three parts, followed by an appendix, notes, filmography, bibliography, and index. Johnson and Petrie are critical of previous views on Tarkovsky, and the book is a corrective work. Reviewer Donato Totaro places it in the movement of "new
290:
effectively demolished." Taylor called the book "a major contribution, not merely to the study of Soviet cinema, but to cinema scholarship more generally. It deserves not only to be widely read, but in its approach and format to be widely emulated."
254:
as "by far the most exhaustively researched and critically rigorous" of the four English-language books on the director up to that point. While saying that Johnson and Petrie excessively attack others' interpretations, and have an interpretation of
199:
Among the assumptions debunked is the view of Western critics that political differences caused Tarkovsky's bureaucratic problems. Johnson and Petrie claim that his unconventional storytelling and cinematic style caused them. For example,
218:) across Tarkovsky's films, as well as his relationship to other art forms like painting and literature. In chapter 13, they express agreement with BĂ lint AndrĂ s KovĂ cs and Akos SzilĂ gyi (the authors of the 1987 work
134:. The authors discuss Tarkovsky's time in the Soviet film industry; closely summarize and interpret each individual film made by him; and discuss formal and thematic patterns across his works.
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is not "the new work of critical insight and analysis that this most poetic of directors so richly merits", but still an "indispensable prolegomena" due to its factual data.
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226:, with a few individuals providing the only remaining link between the brutalised present and the spiritual values of a largely forgotten communal past".
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Anyone who wants to make sense of Tarkovsky's filmsâa very difficult task in any caseâmust read it." Richard Taylor at
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In the third part, Johnson and Petrie discuss formal, iconographic, and thematic patterns (such as his specific use of
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that is too based on the original script, the reviewer said that the book's writers avoid jargon, avoid dogmatic
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The first part is devoted to biographical material and information on the state of the Soviet film industry
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211:, not because it was feared as a subversive statement on the plight of the artist in the Soviet Union.
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222:) that Tarkovsky's films are structured around an opposition "between the outer world and personal
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184:. The following chapter, "Shaping an Aesthetics of Cinema", is about Tarkovsky's film writings.
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onward. With the exception of the chapter on both the aforementioned work (in which
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623:"" ĐŻ [ĐœĐ”] ĐŒĐŸĐłŃ ĐłĐŸĐČĐŸŃĐžŃŃ": The affirmative aphasia of Tarkovsky's Mirror"
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Revue Canadienne d'Ătudes cinĂ©matographiques / Canadian Journal of Film Studies
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The appendix features detailed synopses of all films besides
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The second part is devoted to discussion of his films, from
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was negatively received in Russia because it was unlike a
716:"Review of The Films of Andrei Tarkovsky: A Visual Fugue"
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Canadian Slavonic Papers / Revue Canadienne des Slavistes
538:"Review of The Films of Andrei Tarkovsky: A Visual Fugue"
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Natasha Synessios at the University of London wrote that
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263:interpretation, and discuss
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166:during Tarkovsky's career
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536:Iordanova, Dina (1995).
400:Taylor, Richard (1996).
324:sexuality that results.
76:Indiana University Press
691:: Against All Doctrine"
646:Menashe, Louis (1997).
621:Zachurski, Emma Zofia.
494:Totaro, Donato (1995).
1020:1994 non-fiction books
714:Kenez, Peter (1996).
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156:The Social Cinema of
628:. Harvard University
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321:death of the author
174:Andrei Konchalovsky
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904:Nostalghia
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182:Goskino
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138:point.
53:English
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