"As the train approached," wrote Tarkovsky, "panic started in the theatre: people jumped and ran away."
“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。”
For Tarkovsky, the key to that magic was the way in which cinema created a dynamic image of the real flow of events.
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。
The Russian director Andrei Tarkovsky, one of the greatest of all film artists, described the film as a "work of genius".
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”。
His favorite was Andrei Tarkovsky, the Soviet director.
他最喜爱的导演是前苏联的安德烈·塔可夫斯基。
'As the train approached, ' wrote Tarkovsky, 'panic started in the theatre: people jumped and ran away.
“当火车驶来的时候”，他写道，“令影院里观众万分惶恐，人们跳了起来，朝外面跑去。
Tarkovsky said, " Recalling is a spirit concept" and" That who loses memories will become the phantom prisoner".
塔科夫斯基说，“回忆是一个精神概念”，“失去回忆，一个人将成为幻象的囚徒”。
Is it possible that Tarkovsky, widely acclaimed as he always has been, is nonetheless still underrated as a film-maker relative to his evident achievements?
虽然一直以来广为赞誉，但以其相关成就，Tarkovsky是否有可能，仍仅仅被定位为一个电影制作人？
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.
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。
Tarkovsky regard films as sculpting in time, and the essence of films is recording realistic time including the character's mentation, because this is also an important part of reality.
他认为电影就是“雕刻时光”，其本质是对客观现实时间的真实纪录，但这种真实纪录应当包括人物的主观心理感受，因为这也是客观现实的重要组成部分。
Tarkovsky regard films as sculpting in time, and the essence of films is recording realistic time including the character's mentation, because this is also an important part of reality.
他认为电影就是“雕刻时光”，其本质是对客观现实时间的真实纪录，但这种真实纪录应当包括人物的主观心理感受，因为这也是客观现实的重要组成部分。
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