“当火车驶近时，”塔尔科夫斯基写道，“剧院里开始恐慌起来：人们跳起来跑开了。”
"As the train approached," wrote Tarkovsky, "panic started in the theatre: people jumped and ran away."
最伟大的电影艺术家之一、俄罗斯导演安德烈·塔尔科夫斯基称这部电影是“天才之作”。
The Russian director Andrei Tarkovsky, one of the greatest of all film artists, described the film as a "work of genius".
对塔尔科夫斯基来说，这种魔力的关键在于电影创造了一种关于真实事件的流畅的动态图像。
For Tarkovsky, the key to that magic was the way in which cinema created a dynamic image of the real flow of events.
多义性是塔尔科夫斯基电影的自觉追求。
The ambiguity is the conscientious pursuit of the Tarkovsky's films.
同时，圣愚文化对塔尔科夫斯基电影观的形成也起到了至关重要的作用。
Withal, Holy fool culture is very important in the course of creation of Tarkovsky's movie view.
在本文中，我试图对塔尔科夫斯基电影作品产生多义性的独特艺术手段进行技术分析。
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.
塔尔科夫斯基电影观所包含的丰富内容和深刻内涵必将为我们提供有益的借鉴和启示。
The abundance content and connotative meaning of Tarkovsky's movie view is very helpful for us.
我认为《飞向太空》是一部带有过渡性质的作品，塔尔科夫斯基第二阶段和第三阶段两种截然不同的艺术风格都在此片中初现端倪，但又未殝完善。
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.
俄罗斯文化的伟大传统构成了塔尔科夫斯基的精神母体，而在笔者看来，俄罗斯理念和圣愚文化成为塔尔科夫斯基电影观中最明显的两大文化特征。
The great Russian cultural tradition is the matrix of Tarkovsky's mind. In my opinion, Russian notion and Holy fool culture are the two most obvious character of Tarkovsky's movie view.
俄罗斯出生的美国歌手索非塔克说：“我曾经很有钱也曾经很贫困，请相信我，有钱真好。”如果我们听见霍多尔科夫斯基引用这句话，不要责怪他。
Mr. Khodorkovsky can't be blamed if he's caught quoting the late Russian born-American singer Sophie Tucker: "I've been rich and I've been poor," she said, "and believe me, rich is better."
俄罗斯出生的美国歌手索非塔克说：“我曾经很有钱也曾经很贫困，请相信我，有钱真好。”如果我们听见霍多尔科夫斯基引用这句话，不要责怪他。
Mr. Khodorkovsky can't be blamed if he's caught quoting the late Russian born-American singer Sophie Tucker: "I've been rich and I've been poor," she said, "and believe me, rich is better."
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