Three Ways Of Obtaining Multiple Meaning--On Tarkovsky's Film Creations

The ambiguity is the conscientious pursuit of the Tarkovsky's films. In this paper, I attempt to give some technological analyses on the unique artistic method by which Tarkovsky realized his ambiguous expression in his film-works. I think, according to the process of Tarkovsky's artistic exploration for obtaining the way of producing ambiguity in a film, Tarkovsky's seven and a half films can be divided into three parts, and each part shows a period of stage of Tarkovsky's craeation, which respectively manifest three different ways to realize ambiguity in his film.At the first stage, he gets multiple meaning through records of actual events. The style is formed by fortuity and anecdotes plots; long take; vividness of material reality being restored. The representatives are the steamroller and the violin, Ivan's childhood, Andrei Rublev. At the same time, something needs to be paid attention that appears non-actual scenes and minor scenes obviously branching off the plot clues. The scenes like some kinds of episodes interlude the movies.To the mirror, independent phrases have already been with similar episodes and main plot clues confronting each other. And the structural relationship is between the episodes and other phases. It is just the second way of multi-means from the bland spaces and positional corresponding among these phases. So in the second part of my paper, firstly I analyze the characteristic in multi-viewpoints, multiple space-time and multi-levels, then I clarify the linking-way of the phases where Tarkovsky shows his originality.And then, he gets to the third stage with turning to fable. In the third part, I analyze the characteristic of fable including stalker, nostalghia and sacrifice. In my opinion, he uses way of fable at this stage. By the way of extremely simplifying; abstracting and typing of characters and developing plots in according with logic put up beforehand, various possibility of annotation is radiated in the film.In the ending, I analyze briefly the transitional characteristic of Solaris. The style at the third stage is completely different from the second one, and the two styles have an inkling of the matter without arriving perfection.