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An elegiac collection of sixty Polaroid photographs by the

late Soviet film director Andrei Tarkovsky.

"Tarkovsky often reflected on the way that time flies and wanted

to stop it, even with these quick Polaroid shots. The melancholy of

seeing things for the last time is the highly mysterious and poetic

essence that these images leave with us. It is as though Andrei

wanted to transmit his own enjoyment quickly to others. And they

feel like a fond farewell."—Tonino Guerra, from the

Introduction

This beautifully produced book comprises sixty Polaroid photographs

of Andrei Tarkovsky's friends and family, taken between 1979 and

1984 in his native Russia and in Italy, where he spent time in

political exile.The size of the Polaroids is exactly as presented

in the book, including the frame. The book may therefore be viewed

as a facsimile edition. 60 color illustrations.

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Andrei Tarkovsky is widely considered the

finest film-maker Russia has ever produced. Andrei A.

Tarkovsky, born in 1970, is his son. Giovanni

Chiaramonte is a distinguished Italian photographer. Tonino

Guerra is a prolific screenwriter and was a great friend of

Tarkovsky.

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一个年轻人在路边，

像搭便车。

他举起手，无人停下。

他一头金发，神情沮丧。

他令我想起佳帕。

他也会长大，

成为大人，

并感到孤独。

——塔尔科夫斯基1979年7月22日日记。

电影《镜子》的场景里，安德烈·塔可夫斯基自己演出其中一幕，他躺在医院床上，右手握住一只纤细的小鸟。他的生命终曲正是如此上演：在巴黎的病床上，在他逝世的那间房间里，有只小鸟每天早上从敞开的窗户飞进来，与他相遇。

An instanteneous mirror of memory, every photograph ieaves a motionless trace of what has been seen, a fixed imprint of something that is no longer what it was before, a silent simulacrum of someone who has disappeared forever from our field of vision. And, as a simple act of remembering, the photograph seems to testify only to the disapearance and death of the people and of the feelings that bind us to them, of things and of the places where they belong.

Seen in this way, the act of remembering is the recording of information imposed on mind by exterior reality, according to the linear logic of reality, the inexorable law of nature, the Euclidean mechanism of cause and effect that structures and governs human history in the shape of tragedy. The artist, Tarkovsky says, must be 'capable of...

數千年以來，

人類一直竭力追求幸福。

但他並不幸福。為什麼？

因為他做不到，

因為他不知道方法----

兩者都是原因。

然後，首先，

我們在現世的生活，

必然沒有最終的幸福，

只能抱著期待，

祈求幸福在未來降臨。

因而必得受苦，

唯有在善惡的掙扎中受苦，

方能煉鑄靈魂。

我們被釘在平面上，

而世界卻是多維的。

我們意識到了。

卻苦於無能得知真相。

然而，並不需要知道！

我們得去愛，

去相信。

信仰是有愛相助的知識。

An artistic image is one that ensures its own development, its historical viability. An image is a grain, a self-evolving retroactive organism. Its is a symbol of actual life, as opposed to life itself. Life contains death. An image of life, by contrast, excludes it, or else sees in it a unique potential for the affirmation of life.

媒体评论

From Booklist

The Russian Andrey Tarkovsky (1932-1986) is one of the greatest

directors in film history. Here Italian photographer Chiaramonte

and Tarkovsky's son mount a selection of color Polaroids the

filmmaker took from 1979 to 1984 of his home, family, and friends

in Russia and of places he visited in Italy. His father, Arseny,

was a distinguished poet, and judging from the notebook extracts

accompanying the pictures, Tarkovsky was no mean poet himself. Like

his father, he intuited a holy eternity. Those windows into

eternity, the icons of the Orthodox Church, influenced his visual

style (his Andrei Rublev commemorates the greatest icon painter),

and these photos, suffused by the ochre light of late afternoon and

so powerfully composed that they argue that supreme artistic

visualization was second nature to Tarkovsky, look so timeless and

enduring that they inspire worshipful awe. Like some of the imagery

of The Mirror, the Tarkovsky film these pictures most resemble,

some of them tax and frustrate legibility. Always, they affirm a

line of Arseny Tarkovsky's, "We are all immortal." Ray Olson

Copyright © American Library Association. All rights

reserved

"* 'One of the most beautiful books of the year' - Time Out *

'[These photos] match the rapturous visuals and spiritual intensity

of Tarkovsky's films... [they] capture eternity in a moment' -

Vertigo"

书籍介绍

内容简介：

乡愁，也是一种目光。这本俄国导演塔可夫斯基（Andrey Tarkovsky）的拍立得摄影集，背后有段曲折複杂的故事。1981年，塔可夫斯基已名声远播，受邀和妻子至义大利工作，继而计画定居异国。此举触怒苏联当局，于是将其儿子扣押，一家分隔两地，塔氏不得返回俄国。这本摄影集的前半部，包括大量塔可夫斯基在俄国时期的家庭、妻儿、及生活快照，后半部，则是他至义大利后的影像素写。除了他一贯的诗意与神秘气质外，裡面诸多故土与爱子照片，之后变成流亡异国的导演魂牵梦繫的执念，这些影像后来变成了电影《乡愁》。直到塔氏病痛缠身，即将离世前夕，其子才获准前往义大利，一家团聚。

本书的图片都由老塔亲自标上注解，整部书弥漫着一如其电影镜头般的昏黄深邃感，是一本拍利得版的小电影，值得影迷们收藏。