지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Ⅰ. One's base of existence has great effect on all his artistic actions. It is necessary that a great director's historical and cultural background should be examined first 'in order to study him and his works. This is applied to Andrei Tarkovsky. The core of his film aesthetics consists in lifestyle, philosophy and aesthetics peculiar to Russia. Therefore, Andrei Tarkovsky's film aesthetics should be understood in view of the huge stream and change of Russia's intellectual tradition.
Ⅱ. Time frame is a key to understand Andrei Tarkovsky's film aesthetics. In all his works, he makes certain time structure. That is, he uses past, present and future in his films. Just as Ivan's Childhood Solaris and The Mirror are related to past history and moral truth, so Stalker and Nostalgia are to mankind's inner world from the present, and Sacrifice to the future. Tarkovsky's time, however, can be taken from fact in the movie, which is strengthened by the proper use of news film. News film with fact works as an effective method to express Russian people's universal value. Tarkovsky is dealing with fact by news film, and, in tum, Russian people's history and philosophy by the fact. This kind of objective fact is made up of inner structure of Tarkovsky's films. In other words, his subjective recognition of time builds up the objective fact in his films totally. Associated with many individual ingredients inherent in his films, factual ingredients makes inter-organic relations with events and actions in the films. In this way, time means a condition connecting the past, present and future of Tarkovsky himself and Russian people.
Ⅲ. Russia's icon, one of spatial background of Andrei Tarkovsky's films has an important aesthetic meaning. Icon symbolizes Russians' hardships, desire and future hope through long history, further their moral principles of the future. Thus, Icon is used as a symbolic implication in Tarkovsky's films. Icon is the overlapped expression of unity, reconcilation and love beyond hostility and hatred, which he consistently claims in all his films. Icon in Russia carry the ultimate meaning of human salvation to the present uneasy world made through historical time in his films. He found the solution of accomplishing the ultimate goal of human salvation within Russia's cultural and artistic category, and realized great expectation of human salvation on the basis of Russia's culture and arts in all his films.
Ⅳ. Andrei Tarkovsky is one of the artists who identified themselves with a part of Russian people and culture. He is similar to the Russian Intelligentsias in that they wouldn't give way in conflict with Russian autocratic government. Especially, the aim of Tarkovsky's films is what Dostoevski insisted on in 19 century, human salvation through inner revolution. Tarkovsky intended to accomplish the salvation of human beings, Russia and the world itself through the exploration of man's inner world. His vision is as original as Dostoevski's though distant from that of 19 century Socialism. Likewise, he took his vision from Russia's intellectual tradition, which is the revolution for human salvation from man's inner world. In result, he can never be free from Russia's intellectual tradition as well as Dostoevski.
Ⅴ. Andrei Tarkovsky is the director who removed the doubt that films can work for moral and ethical accomplishment as art. His world in films is enormous and wide, and based on philosophy and aesthetics inherent in Russian Intelligentsias which get people together and make one. He greatly wished his own works to make people become one. That is the very vision of Tarkovsky's films and Russia itself.
Ⅱ. Time frame is a key to understand Andrei Tarkovsky's film aesthetics. In all his works, he makes certain time structure. That is, he uses past, present and future in his films. Just as Ivan's Childhood Solaris and The Mirror are related to past history and moral truth, so Stalker and Nostalgia are to mankind's inner world from the present, and Sacrifice to the future. Tarkovsky's time, however, can be taken from fact in the movie, which is strengthened by the proper use of news film. News film with fact works as an effective method to express Russian people's universal value. Tarkovsky is dealing with fact by news film, and, in tum, Russian people's history and philosophy by the fact. This kind of objective fact is made up of inner structure of Tarkovsky's films. In other words, his subjective recognition of time builds up the objective fact in his films totally. Associated with many individual ingredients inherent in his films, factual ingredients makes inter-organic relations with events and actions in the films. In this way, time means a condition connecting the past, present and future of Tarkovsky himself and Russian people.
Ⅲ. Russia's icon, one of spatial background of Andrei Tarkovsky's films has an important aesthetic meaning. Icon symbolizes Russians' hardships, desire and future hope through long history, further their moral principles of the future. Thus, Icon is used as a symbolic implication in Tarkovsky's films. Icon is the overlapped expression of unity, reconcilation and love beyond hostility and hatred, which he consistently claims in all his films. Icon in Russia carry the ultimate meaning of human salvation to the present uneasy world made through historical time in his films. He found the solution of accomplishing the ultimate goal of human salvation within Russia's cultural and artistic category, and realized great expectation of human salvation on the basis of Russia's culture and arts in all his films.
Ⅳ. Andrei Tarkovsky is one of the artists who identified themselves with a part of Russian people and culture. He is similar to the Russian Intelligentsias in that they wouldn't give way in conflict with Russian autocratic government. Especially, the aim of Tarkovsky's films is what Dostoevski insisted on in 19 century, human salvation through inner revolution. Tarkovsky intended to accomplish the salvation of human beings, Russia and the world itself through the exploration of man's inner world. His vision is as original as Dostoevski's though distant from that of 19 century Socialism. Likewise, he took his vision from Russia's intellectual tradition, which is the revolution for human salvation from man's inner world. In result, he can never be free from Russia's intellectual tradition as well as Dostoevski.
Ⅴ. Andrei Tarkovsky is the director who removed the doubt that films can work for moral and ethical accomplishment as art. His world in films is enormous and wide, and based on philosophy and aesthetics inherent in Russian Intelligentsias which get people together and make one. He greatly wished his own works to make people become one. That is the very vision of Tarkovsky's films and Russia itself.
목차
Ⅰ. 서론
Ⅱ. 안드레이 타르코프스키와 시간
Ⅲ. 안드레이 타르코프스키와 공간: 회화(이콘)
Ⅳ. 안드레이 타르코프스키와 러시아-도스토예프스키
Ⅴ. 결론
주
참고문헌
ABSTRACT
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