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人们普遍认为,塔尔科夫斯基的影片中充满了一种他所谓的梦的气氛——一种似梦的作用,它和观众渴望验证银幕所示事件的逻辑与确实性的要求针锋相对。特别是在《镜子》(1975—1978)和《斯塔尔凯尔》(1980)中,塔尔科夫斯基通过纯粹的电影手段成
It is widely assumed that Tarkovski’s film is filled with a climate of what he calls a dream - a dream-like act that is diametrically opposed to the audience’s desire to verify the logic and authenticity of the events shown on the screen. Especially in The Mirror (1975-1978) and Stalker (1980), Tarkovsky made use of purely cinematic means