a language question re: Tarkovsky
my alter-history version of Tarkovsky made many films comparable to the real director, i have given them very similar names but, i hope, names that reflect something of their content.
now, my question is - In Russian, would any of these film titles be the same as, or too similar to, that of their original???
The imaginary films being;:
One Life in the Day of a Child, Reflections, Tunnel, Martyr and Recollections.
(Tunnel includes elements of both Solaris and Stalker, for Andrei Rublev however.. i cant think of a fair substitute.)
If anybody could tell me, i would be very appreciative.
it has been an interesting and slightly ghostly experience to try and evoke (or invoke rather!) some elements of the mind and personality of the great director.
of course there are noticeable and necessary differences but i hope i have not been dishonorable in my portrait.
well, for those who have the patience, here is a very short example - from the alter-Tarkovsky's diary:
…………………………………..
As children we experience time without awareness, leaping from one day to another in the same manner as we then would laughingly play at hopscotch or jumping puddles. Memory, sense of reality, imagination - they are like a universe, moving outwards, growing and expanding.
Come adulthood and we experience such things very differently. It becomes difficult to recapture the intensity of our youthful senses. How easy it is to recall the beloved smell of our Mother’s perfume, Father’s pullover worn whenever there was a bonfire to be tended in the autumn, the halls of our first school, the scent and taste of wild fruit picked in the ripeness of late summer.
How much harder it is to truthfully conjure forth the taste of coffee or wine and then locate that sensation within our memories of present contemporary time. I love you, last week we went to the museum. Already the memory of your kiss is fading. The taste of you dissolves away. The museum was interesting and full of objects. I was powerfully affected by one exhibit in particular. I have bought a postcard to remind me of this.
Art is neither one thing nor another - nor is God come to that, though many a reductionist (be they critic or atheist) might try to argue otherwise, nonetheless our appreciation for the arts and our faith in God, these allow us to regain a measure of our lost sensory vitality; we come unto heaven as a child again.
This truth is at the heart of all my films. It has often surprised people, audiences at lectures and talks I have given, to hear me describe Tunnel (which is perhaps the film I am most known for) as a failure. It is for me, and the failing is mine alone. Why, they ask me, what is wrong with a film that we, to our minds, so justly celebrate?
I answer - it is this; Tunnel fails because to a large extent it is ABOUT this process of sensory transition, both tragic and sublime. The film operates somewhat descriptively, symbolically - and therefore immaturely.
It is as the old joke says, "The art of the juggler lies not with his balls."
After completing the picture I resolved that from now on I would grasp the medium completely, which is to say, all the films I have made since, there has been no need for tunnels, they are tunnels themselves.
.................
now, my question is - In Russian, would any of these film titles be the same as, or too similar to, that of their original???
The imaginary films being;:
One Life in the Day of a Child, Reflections, Tunnel, Martyr and Recollections.
(Tunnel includes elements of both Solaris and Stalker, for Andrei Rublev however.. i cant think of a fair substitute.)
If anybody could tell me, i would be very appreciative.
it has been an interesting and slightly ghostly experience to try and evoke (or invoke rather!) some elements of the mind and personality of the great director.
of course there are noticeable and necessary differences but i hope i have not been dishonorable in my portrait.
well, for those who have the patience, here is a very short example - from the alter-Tarkovsky's diary:
…………………………………..
As children we experience time without awareness, leaping from one day to another in the same manner as we then would laughingly play at hopscotch or jumping puddles. Memory, sense of reality, imagination - they are like a universe, moving outwards, growing and expanding.
Come adulthood and we experience such things very differently. It becomes difficult to recapture the intensity of our youthful senses. How easy it is to recall the beloved smell of our Mother’s perfume, Father’s pullover worn whenever there was a bonfire to be tended in the autumn, the halls of our first school, the scent and taste of wild fruit picked in the ripeness of late summer.
How much harder it is to truthfully conjure forth the taste of coffee or wine and then locate that sensation within our memories of present contemporary time. I love you, last week we went to the museum. Already the memory of your kiss is fading. The taste of you dissolves away. The museum was interesting and full of objects. I was powerfully affected by one exhibit in particular. I have bought a postcard to remind me of this.
Art is neither one thing nor another - nor is God come to that, though many a reductionist (be they critic or atheist) might try to argue otherwise, nonetheless our appreciation for the arts and our faith in God, these allow us to regain a measure of our lost sensory vitality; we come unto heaven as a child again.
This truth is at the heart of all my films. It has often surprised people, audiences at lectures and talks I have given, to hear me describe Tunnel (which is perhaps the film I am most known for) as a failure. It is for me, and the failing is mine alone. Why, they ask me, what is wrong with a film that we, to our minds, so justly celebrate?
I answer - it is this; Tunnel fails because to a large extent it is ABOUT this process of sensory transition, both tragic and sublime. The film operates somewhat descriptively, symbolically - and therefore immaturely.
It is as the old joke says, "The art of the juggler lies not with his balls."
After completing the picture I resolved that from now on I would grasp the medium completely, which is to say, all the films I have made since, there has been no need for tunnels, they are tunnels themselves.
.................