Graham Petrie – författare

"Johnson and Petrie have produced an admirable book. Anyone who wants to make sense of Tarkovsky's films—a very difficult task in any case—must read it." —The Russian Review"This book is a model of contextual and textual analysis. . . . the Tarkovsky myth is stripped of many of its shibboleths and the thematic structure and coherence of his work is revealed in a fresh and stimulating manner." —Europe-Asia Studies"[This book,] with its wealth of new research and critical insight, has set the standard and should certainly inspire other writers to keep on trying to collectively explore the possible meanings of Tarkovsky's film world." —Canadian Journal of Film Studies"For Tarkovsky lovers as well as haters, this is an essential book. It might make even the haters reconsider." —CineasteThis definitive study, set in the context of Russian cultural history, throws new light on one of the greatest—and most misunderstood—filmmakers of the past three decades. The text is enhanced by more than 60 frame enlargements from the films.

Presents the proceedings of a conference on the topic of 'Soviet and East European Film Makers Working in the West' held at McMaster University, Hamilton, Ontario, in March 1989, as well as an edited summary of the discussions that took place after each session. The result is a volume that studies both the contribution of particular individuals to Western European and North American film industries over the past two decades and raises questions of considerable importance as to the future development of cinema as a whole. The sessions covered Soviet, Polish, Yugoslav, Czech and Hungarian cinema, with particular emphasis on the films made by Anrei Tarkovsky, Dusan Makaveyev, Milos Forman and Jerzy Skolimowski, both in their native countries and in Western Europe and North America. Topics discussed include: the viability of small national cinemas in an age of increasing standardization and homogenization on the lines of the dominant Hollywood model; the survival of the very concept of 'art cinema' in these circumstances and the relationship between art and commerce in a Hollywood context; and the changing circumstances in the Soviet Union and elsewhere that may see the development of a more market-oriented and commercial film industry in countries that had previously shunned this art.