The Analysis Of The Aesthetic Tardiness Of Tarkovsky’s Cinema

It is a joyful but suffering activity to see the films of Andrey Tarkovsky. His artworksare so lengthy and ambiguous that they torture us a lot；However their beauty as poemsmake us cannot stop loving them continuously. I tried to comb the aesthetic characters ofTarkovsky’s films and explain the tardiness of his cinema at a completely new viewpoint.Films of Tarkovsky show their tardiness generally. The tardy rhythm of his films areembodied in three aspects, namely de-montage，de-narrativity and stagnant acting. The de-montage manifested itself mainly in two spheres of lengthiness of shot time and thedirector’s personal use of the Long Take; The de-narrativity show itself on two aspects too,namely the vagueness of narrative time and the reduction of characters’ relationship;another element can be noticed on the aspects of characters’ stagnant moving in the filmsand the soliloquy of their dialogue.The lengthiness of shot time and personal use of Long Take hardly showed a trail ofthe director’s modification in films’ creation, furthermore they reflect Tarkovsky’s beliefand instance of rejecting commercial cinemas’ decoration and exaggeration; Tarkovsky’sfilms are vague in narrative time and he simplifies the relationship between charactersdeliberately to play down the narration in films. Just like his choice in de-montage, heprefers a thorny but sublime road of art film. De-editing and de-narrativity makeTarkovsky’s artworks display a slow and sand-still feature in the outside rhythm generally.On the other hand, when we look into his films we will discover that Tarkovsky’s filmscontain infinite explosion of emotion in their rhythm. It is the tension between the rhythminside and outside that brings us the charm of Tarkolvsky’s films.The paper tried to take the obvious aesthetic character of tardiness as the outline, thespecific performance as the longitude and a few of Tarkovsky’s important films in his laterstages as the latitude to discuss the aesthetic features of his films with the aesthetic theoriesof his. It is an effort made by the paper that see the whole world from grain sand anddiscourse on the aesthetics from shallow to deep. By doing this I expect to enlighten thosewho would approach Tarkovsky and his cinema in angle of view experiences. Beginningwith enjoying the exterior of Tarkovsky’s cinema means a start to accept the tardiness andappreciate it. Slow down, we can gain the concentrated gem of Tarkovsky’s cinema,besides we can loose the soul from cumbersomeness and busyness, which shows the earsignificance of reading Tarkovsky.