Andrei Tarkovsky

today, it distracts many of us from noticing where things all began and came from, nature. That is why, man has created so many different advances that help us forget our inevitable end. In the “Epic of Gilgamesh” and the movie Stalker written by Andrei Tarkovski, both works remind audiences of how people have always used technology to distract us from the thought of dying. These distractions like, religion, relationships, education do occupy a huge portion of our life but cannot change our end result;

New currents in European cinema began to arise in the nineteen eighties. Globalization radically impacted the form and content of cinema much in the same way that it reshaped politics and economics. With the formation of the European Union, the destruction of the fracturing of the Soviet Republic, and the advent of the internet, artistic sensibilities began to blur across country lines. This is not to say that nations ceased to have their specific cultural relevancy within their films. Rather, they

The technical evolution of film industry is one notable feature of modern civilization. The innovation of combining motion pictures with recorded sound. Black-and-white film gradually replaced by the colour motion picture film and the visual effect involve the integration of live-action footage and computer generated imagery to create a scenes which look realistic, but would be dangerous, costly or impossible to be recorded and the popularization of three-dimensional cinema. The developments of technique

Andrei Tarkovsky said, “A literary work can only be received through symbols, through concepts - for that is what words are”. In Fahrenheit 451’s society, the reading of books is illegal and punishable by death. The protagonist Guy Montag stands against the burning of the books and attempts to be happy with his life, even though he is a fireman. Ray Bradbury, uses many literary devices in his story, but the most important device is symbolism. In Fahrenheit 451, a handful of symbols advance the plot

on celluloid. The masters of cinema were classified auteurs when they stamped their Mise-en-Scene onto their movies. From Robert Bresson, Carl Dreyer, Yasujiro oz., Kenji Mizoguchi, Jean-Luc Goddard, Federico Fellini, Michelangelo Antonioni, Andrei Tarkovsky, Luis Bunuel, Orson Welles and

Sub Section 1 – architecture and urban spaces through modern photography Photography and architecture have a uniquely powerful resonance - architectural form provides the camera with the subject for some of its most compelling imagery, while photography profoundly influences how architecture is represented, imagined and produced. Camera Constructs is the first book to reflect critically on the varied interactions of the different practices by which photographers, artists, architects, theorists and