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wiki20220301en000_3100	Andrei Tarkovsky	A conspiracy theory emerged in Russia in the early 1990s when it was alleged that Tarkovsky did not die of natural causes, but was assassinated by the KGB. Evidence for this hypothesis includes testimonies by former KGB agents who claim that Viktor Chebrikov gave the order to eradicate Tarkovsky to curtail what the Soviet government and the KGB saw as anti-Soviet propaganda by Tarkovsky. Other evidence includes several memoranda that surfaced after the 1991 coup and the claim by one of Tarkovsky's doctors that his cancer could not have developed from a natural cause. As with Tarkovsky, his wife Larisa and actor Anatoly Solonitsyn all died from the very same type of lung cancer. Vladimir Sharun, sound designer in Stalker, is convinced that they were all poisoned by the chemical plant where they were shooting the film.	Andrei Tarkovsky. A conspiracy theory emerged in Russia in the early 1990s when it was alleged that Tarkovsky did not die of natural causes, but was assassinated by the KGB. Evidence for this hypothesis includes testimonies by former KGB agents who claim that Viktor Chebrikov gave the order to eradicate Tarkovsky to curtail what the Soviet government and the KGB saw as anti-Soviet propaganda by Tarkovsky. Other evidence includes several memoranda that surfaced after the 1991 coup and the claim by one of Tarkovsky's doctors that his cancer could not have developed from a natural cause. As with Tarkovsky, his wife Larisa and actor Anatoly Solonitsyn all died from the very same type of lung cancer. Vladimir Sharun, sound designer in Stalker, is convinced that they were all poisoned by the chemical plant where they were shooting the film.	676
wiki20220301en000_3101	Andrei Tarkovsky	Influences Tarkovsky became a film director during the mid and late 1950s, a period referred to as the Khrushchev Thaw, during which Soviet society opened to foreign films, literature and music, among other things. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience that influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director. Tarkovsky was, according to fellow student Shavkat Abdusalmov, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight. Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves".	Andrei Tarkovsky. Influences Tarkovsky became a film director during the mid and late 1950s, a period referred to as the Khrushchev Thaw, during which Soviet society opened to foreign films, literature and music, among other things. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience that influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director. Tarkovsky was, according to fellow student Shavkat Abdusalmov, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight. Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves".	676
wiki20220301en000_3102	Andrei Tarkovsky	Tarkovsky was also a deeply religious Orthodox Christian, who believed great art should have a higher spiritual purpose. He was a perfectionist not given to humor or humility: his signature style was ponderous and literary, having many characters that pondered over religious themes and issues regarding faith.	Andrei Tarkovsky. Tarkovsky was also a deeply religious Orthodox Christian, who believed great art should have a higher spiritual purpose. He was a perfectionist not given to humor or humility: his signature style was ponderous and literary, having many characters that pondered over religious themes and issues regarding faith.	676
wiki20220301en000_3103	Andrei Tarkovsky	Tarkovsky perceived that the art of cinema has only been truly mastered by very few filmmakers, stating in a 1970 interview with Naum Abramov that "they can be counted on the fingers of one hand". In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list includes: Diary of a Country Priest and Mouchette by Robert Bresson; Winter Light, Wild Strawberries, and Persona by Ingmar Bergman; Nazarín by Luis Buñuel; City Lights by Charlie Chaplin; Ugetsu by Kenji Mizoguchi; Seven Samurai by Akira Kurosawa, and Woman in the Dunes by Hiroshi Teshigahara. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer.	Andrei Tarkovsky. Tarkovsky perceived that the art of cinema has only been truly mastered by very few filmmakers, stating in a 1970 interview with Naum Abramov that "they can be counted on the fingers of one hand". In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list includes: Diary of a Country Priest and Mouchette by Robert Bresson; Winter Light, Wild Strawberries, and Persona by Ingmar Bergman; Nazarín by Luis Buñuel; City Lights by Charlie Chaplin; Ugetsu by Kenji Mizoguchi; Seven Samurai by Akira Kurosawa, and Woman in the Dunes by Hiroshi Teshigahara. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer.	676
wiki20220301en000_3104	Andrei Tarkovsky	With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Russia, although he rated Soviet directors such as Boris Barnet, Sergei Parajanov and Alexander Dovzhenko highly. He said of Dovzhenko's Earth: "I have lived a lot among very simple farmers and met extraordinary people. They spread calmness, had such tact, they conveyed a feeling of dignity and displayed wisdom that I have seldom come across on such a scale. Dovzhenko had obviously understood wherein the sense of life resides. [...] This trespassing of the border between nature and mankind is an ideal place for the existence of man. Dovzhenko understood this."	Andrei Tarkovsky. With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Russia, although he rated Soviet directors such as Boris Barnet, Sergei Parajanov and Alexander Dovzhenko highly. He said of Dovzhenko's Earth: "I have lived a lot among very simple farmers and met extraordinary people. They spread calmness, had such tact, they conveyed a feeling of dignity and displayed wisdom that I have seldom come across on such a scale. Dovzhenko had obviously understood wherein the sense of life resides. [...] This trespassing of the border between nature and mankind is an ideal place for the existence of man. Dovzhenko understood this."	676
wiki20220301en000_3105	Andrei Tarkovsky	Andrei Tarkovsky was not a fan of science fiction, largely dismissing it for its "comic book" trappings and vulgar commercialism. However, in a famous exception Tarkovsky praised the blockbuster film The Terminator, saying that its "vision of the future and the relation between man and its destiny is pushing the frontier of cinema as an art". He was critical of the "brutality and low acting skills", but was nevertheless impressed by the film.	Andrei Tarkovsky. Andrei Tarkovsky was not a fan of science fiction, largely dismissing it for its "comic book" trappings and vulgar commercialism. However, in a famous exception Tarkovsky praised the blockbuster film The Terminator, saying that its "vision of the future and the relation between man and its destiny is pushing the frontier of cinema as an art". He was critical of the "brutality and low acting skills", but was nevertheless impressed by the film.	676
wiki20220301en000_3106	Andrei Tarkovsky	Cinematic style In a 1962 interview, Tarkovsky argued: "All art, of course, is intellectual, but for me, all the arts, and cinema even more so, must above all be emotional and act upon the heart." His films are characterized by metaphysical themes, extremely long takes, and images often considered by critics to be of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera. He once said: "Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema."	Andrei Tarkovsky. Cinematic style In a 1962 interview, Tarkovsky argued: "All art, of course, is intellectual, but for me, all the arts, and cinema even more so, must above all be emotional and act upon the heart." His films are characterized by metaphysical themes, extremely long takes, and images often considered by critics to be of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera. He once said: "Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema."	676
wiki20220301en000_3107	Andrei Tarkovsky	Tarkovsky incorporated levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for their photogenic value and magical inexplicability. Water, clouds, and reflections were used by him for their surreal beauty and photogenic value, as well as their symbolism, such as waves or the forms of brooks or running water. Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self-reflection. Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.	Andrei Tarkovsky. Tarkovsky incorporated levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for their photogenic value and magical inexplicability. Water, clouds, and reflections were used by him for their surreal beauty and photogenic value, as well as their symbolism, such as waves or the forms of brooks or running water. Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self-reflection. Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.	676
wiki20220301en000_3108	Andrei Tarkovsky	Up to, and including, his film Mirror, Tarkovsky focused his cinematic works on exploring this theory. After Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.	Andrei Tarkovsky. Up to, and including, his film Mirror, Tarkovsky focused his cinematic works on exploring this theory. After Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.	676
wiki20220301en000_3109	Andrei Tarkovsky	Several of Tarkovsky's films have color or black-and-white sequences. This first occurs in the otherwise monochrome Andrei Rublev, which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in Stalker's case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life. Bergman on Tarkovsky Ingmar Bergman, a renowned director, commented on Tarkovsky:	Andrei Tarkovsky. Several of Tarkovsky's films have color or black-and-white sequences. This first occurs in the otherwise monochrome Andrei Rublev, which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in Stalker's case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life. Bergman on Tarkovsky Ingmar Bergman, a renowned director, commented on Tarkovsky:	676
wiki20220301en000_3110	Andrei Tarkovsky	Bergman on Tarkovsky Ingmar Bergman, a renowned director, commented on Tarkovsky: Contrarily, however, Bergman conceded the truth in the claim made by a critic who wrote that "with Autumn Sonata Bergman does Bergman", adding: "Tarkovsky began to make Tarkovsky films, and that Fellini began to make Fellini films [...] Buñuel nearly always made Buñuel films." This pastiche of one's own work has been derogatorily termed as "self-karaoke". Vadim Yusov Tarkovsky worked in close collaboration with cinematographer Vadim Yusov from 1958 to 1972, and much of the visual style of Tarkovsky's films can be attributed to this collaboration. Tarkovsky would spend two days preparing for Yusov to film a single long take, and due to the preparation, usually only a single take was needed.	Andrei Tarkovsky. Bergman on Tarkovsky Ingmar Bergman, a renowned director, commented on Tarkovsky: Contrarily, however, Bergman conceded the truth in the claim made by a critic who wrote that "with Autumn Sonata Bergman does Bergman", adding: "Tarkovsky began to make Tarkovsky films, and that Fellini began to make Fellini films [...] Buñuel nearly always made Buñuel films." This pastiche of one's own work has been derogatorily termed as "self-karaoke". Vadim Yusov Tarkovsky worked in close collaboration with cinematographer Vadim Yusov from 1958 to 1972, and much of the visual style of Tarkovsky's films can be attributed to this collaboration. Tarkovsky would spend two days preparing for Yusov to film a single long take, and due to the preparation, usually only a single take was needed.	676
wiki20220301en000_3111	Andrei Tarkovsky	Sven Nykvist In his last film, The Sacrifice, Tarkovsky worked with cinematographer Sven Nykvist, who had worked on many films with director Ingmar Bergman. (Nykvist was not alone: several people involved in the production had previously collaborated with Bergman, notably lead actor Erland Josephson, who had also acted for Tarkovsky in Nostalghia.) Nykvist complained that Tarkovsky would frequently look through the camera and even direct actors through it, but ultimately stated that choosing to work with Tarkovsky was one of the best choices he had ever made.	Andrei Tarkovsky. Sven Nykvist In his last film, The Sacrifice, Tarkovsky worked with cinematographer Sven Nykvist, who had worked on many films with director Ingmar Bergman. (Nykvist was not alone: several people involved in the production had previously collaborated with Bergman, notably lead actor Erland Josephson, who had also acted for Tarkovsky in Nostalghia.) Nykvist complained that Tarkovsky would frequently look through the camera and even direct actors through it, but ultimately stated that choosing to work with Tarkovsky was one of the best choices he had ever made.	676
wiki20220301en000_3112	Andrei Tarkovsky	Personal life Sexuality Film scholars Vita T. Johnson and Graham Petrie, in The Films of Andrei Tarkovsky: A Visual Fugue (1994), wrote that Tarkovsky was bisexual and speculated more controversially that he was also ephebophilic. Noting that Tarkovsky's favorite hair color was red, they argue that his work portrays female sexuality negatively except in the case of a sexually precocious red-haired child in Mirror who is also played by his own red-haired step-daughter. Film teacher David Pratt criticized the evidence given for the theory as insufficient. Dina Iordanova likewise found the claim on bisexuality too undeveloped. Donato Totaro, however, took this claim seriously and said that "perhaps the authors were 'protecting' their source, given that homosexuality is still a taboo subject in Russia." Filmography	Andrei Tarkovsky. Personal life Sexuality Film scholars Vita T. Johnson and Graham Petrie, in The Films of Andrei Tarkovsky: A Visual Fugue (1994), wrote that Tarkovsky was bisexual and speculated more controversially that he was also ephebophilic. Noting that Tarkovsky's favorite hair color was red, they argue that his work portrays female sexuality negatively except in the case of a sexually precocious red-haired child in Mirror who is also played by his own red-haired step-daughter. Film teacher David Pratt criticized the evidence given for the theory as insufficient. Dina Iordanova likewise found the claim on bisexuality too undeveloped. Donato Totaro, however, took this claim seriously and said that "perhaps the authors were 'protecting' their source, given that homosexuality is still a taboo subject in Russia." Filmography	676
wiki20220301en000_3113	Andrei Tarkovsky	Filmography Tarkovsky is mainly known as a film director. During his career he directed seven feature films, as well as three shorts from his time at VGIK. His features are: Ivan's Childhood (1962) Andrei Rublev (1966) Solaris (1972) Mirror (1975) Stalker (1979) Nostalghia (1983) The Sacrifice (1986) He also wrote several screenplays. Furthermore, he directed the play Hamlet for the stage in Moscow, directed the opera Boris Godunov in London, and he directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting in Time, a book on film theory.	Andrei Tarkovsky. Filmography Tarkovsky is mainly known as a film director. During his career he directed seven feature films, as well as three shorts from his time at VGIK. His features are: Ivan's Childhood (1962) Andrei Rublev (1966) Solaris (1972) Mirror (1975) Stalker (1979) Nostalghia (1983) The Sacrifice (1986) He also wrote several screenplays. Furthermore, he directed the play Hamlet for the stage in Moscow, directed the opera Boris Godunov in London, and he directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting in Time, a book on film theory.	676
wiki20220301en000_3114	Andrei Tarkovsky	Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed Andrei Rublev in 1966, Solaris in 1972, Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a cowriter. Tarkovsky once said that a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous films. Published books Sculpting in Time, published in 1986 Time Within Time: The Diaries 1970–1986, published in 1989 A book of 60 photos, Instant Light, Tarkovsky Polaroids, taken by Tarkovsky in Russia and Italy between 1979 and 1984 was published in 2006. The collection was selected by Italian photographer Giovanni Chiaramonte and Tarkovsky's son Andrey A. Tarkovsky.	Andrei Tarkovsky. Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed Andrei Rublev in 1966, Solaris in 1972, Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a cowriter. Tarkovsky once said that a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous films. Published books Sculpting in Time, published in 1986 Time Within Time: The Diaries 1970–1986, published in 1989 A book of 60 photos, Instant Light, Tarkovsky Polaroids, taken by Tarkovsky in Russia and Italy between 1979 and 1984 was published in 2006. The collection was selected by Italian photographer Giovanni Chiaramonte and Tarkovsky's son Andrey A. Tarkovsky.	676
wiki20220301en000_3115	Andrei Tarkovsky	Unproduced screenplays ConcentrateConcentrate (, Kontsentrat) is a never-filmed 1958 screenplay by Tarkovsky. The screenplay is based on Tarkovsky's year in the taiga as a member of a research expedition, prior to his enrollment in film school. It's about the leader of a geological expedition, who waits for the boat that brings back the concentrates collected by the expedition. The expedition is surrounded by mystery, and its purpose is a state secret.	Andrei Tarkovsky. Unproduced screenplays ConcentrateConcentrate (, Kontsentrat) is a never-filmed 1958 screenplay by Tarkovsky. The screenplay is based on Tarkovsky's year in the taiga as a member of a research expedition, prior to his enrollment in film school. It's about the leader of a geological expedition, who waits for the boat that brings back the concentrates collected by the expedition. The expedition is surrounded by mystery, and its purpose is a state secret.	676
wiki20220301en000_3116	Andrei Tarkovsky	Although some authors claim that the screenplay was filmed, according to Marina Tarkovskaya, Tarkovsky's sister (and wife of Aleksandr Gordon, a fellow student of Tarkovsky during his film school years) the screenplay was never filmed. Tarkovsky wrote the screenplay during his entrance examination at the State Institute of Cinematography (VGIK) in a single sitting. He earned the highest possible grade, "excellent" () for this work. In 1994, fragments of Concentrate were filmed and used in the documentary Andrei Tarkovsky's Taiga Summer by Marina Tarkovskaya and Aleksandr Gordon.	Andrei Tarkovsky. Although some authors claim that the screenplay was filmed, according to Marina Tarkovskaya, Tarkovsky's sister (and wife of Aleksandr Gordon, a fellow student of Tarkovsky during his film school years) the screenplay was never filmed. Tarkovsky wrote the screenplay during his entrance examination at the State Institute of Cinematography (VGIK) in a single sitting. He earned the highest possible grade, "excellent" () for this work. In 1994, fragments of Concentrate were filmed and used in the documentary Andrei Tarkovsky's Taiga Summer by Marina Tarkovskaya and Aleksandr Gordon.	676
wiki20220301en000_3117	Andrei Tarkovsky	HoffmannianaHoffmanniana () is a never-filmed 1974 screenplay by Tarkovsky. The screenplay is based on the life and work of German author E. T. A. Hoffmann. In 1974, an acquaintance from Tallinnfilm approached Tarkovsky to write a screenplay on a German theme. Tarkovsky considered Thomas Mann and E. T. A. Hoffmann, and also thought about Ibsen's Peer Gynt. In the end Tarkovsky signed a contract for a script based on the life and work of Hoffmann. He planned to write the script during the summer of 1974 at his dacha. Writing was not without difficulty, less than a month before the deadline he had not written a single page. He finally finished the project in late 1974 and submitted the final script to Tallinnfilm in October.	Andrei Tarkovsky. HoffmannianaHoffmanniana () is a never-filmed 1974 screenplay by Tarkovsky. The screenplay is based on the life and work of German author E. T. A. Hoffmann. In 1974, an acquaintance from Tallinnfilm approached Tarkovsky to write a screenplay on a German theme. Tarkovsky considered Thomas Mann and E. T. A. Hoffmann, and also thought about Ibsen's Peer Gynt. In the end Tarkovsky signed a contract for a script based on the life and work of Hoffmann. He planned to write the script during the summer of 1974 at his dacha. Writing was not without difficulty, less than a month before the deadline he had not written a single page. He finally finished the project in late 1974 and submitted the final script to Tallinnfilm in October.	676
wiki20220301en000_3118	Andrei Tarkovsky	Although the script was well received by the officials at Tallinnfilm, it was the consensus that no one but Tarkovsky would be able to direct it. The script was sent to Goskino in February 1976, and although approval was granted for proceeding with making the film, the screenplay was never realized. In 1984, during the time of his exile in the West, Tarkovsky revisited the screenplay and made a few changes. He also considered to finally direct a film based on the screenplay but ultimately dropped this idea.	Andrei Tarkovsky. Although the script was well received by the officials at Tallinnfilm, it was the consensus that no one but Tarkovsky would be able to direct it. The script was sent to Goskino in February 1976, and although approval was granted for proceeding with making the film, the screenplay was never realized. In 1984, during the time of his exile in the West, Tarkovsky revisited the screenplay and made a few changes. He also considered to finally direct a film based on the screenplay but ultimately dropped this idea.	676
wiki20220301en000_3119	Andrei Tarkovsky	Films about Tarkovsky Voyage in Time (1983): documents the travels in Italy of Andrei Tarkovsky in preparation for the making of his film Nostalghia, Tonino Guerra. Tarkovsky: A Poet in the Cinema (1984): directed by Donatella Baglivo. Moscow Elegy (1987): a documentary/homage to Tarkovsky by Aleksandr Sokurov. Auf der Suche nach der verlorenen Zeit (1988): Andrej Tarkowskijs Exil und Tod. Documentary directed by Ebbo Demant. Germany. One Day in the Life of Andrei Arsenevich (1999): French documentary film directed by Chris Marker. "Andrey" (color/b&w, short-fiction, 35 mm, 15 min, 2006) A film by Nariné Mktchyan and Arsen Azatyan. Festivals: Yerevan IFF 2006, Rotterdam IFF 2007, Busan IFF 2007, Sydney IFF 2007, Zerkalo FF Ivanovo (Special Prize) 2008, Kinoshock FF 2014. Tarkovsky: Time Within Time (2015): documentary by P. J. Letofsky. Andrei Tarkovsky: A Cinema Prayer (2019): a poetic documentary by Tarkovsky's son Andrei A. Tarkovsky Awards and commemoration	Andrei Tarkovsky. Films about Tarkovsky Voyage in Time (1983): documents the travels in Italy of Andrei Tarkovsky in preparation for the making of his film Nostalghia, Tonino Guerra. Tarkovsky: A Poet in the Cinema (1984): directed by Donatella Baglivo. Moscow Elegy (1987): a documentary/homage to Tarkovsky by Aleksandr Sokurov. Auf der Suche nach der verlorenen Zeit (1988): Andrej Tarkowskijs Exil und Tod. Documentary directed by Ebbo Demant. Germany. One Day in the Life of Andrei Arsenevich (1999): French documentary film directed by Chris Marker. "Andrey" (color/b&w, short-fiction, 35 mm, 15 min, 2006) A film by Nariné Mktchyan and Arsen Azatyan. Festivals: Yerevan IFF 2006, Rotterdam IFF 2007, Busan IFF 2007, Sydney IFF 2007, Zerkalo FF Ivanovo (Special Prize) 2008, Kinoshock FF 2014. Tarkovsky: Time Within Time (2015): documentary by P. J. Letofsky. Andrei Tarkovsky: A Cinema Prayer (2019): a poetic documentary by Tarkovsky's son Andrei A. Tarkovsky Awards and commemoration	676
wiki20220301en000_3120	Andrei Tarkovsky	Awards and commemoration Numerous awards were bestowed on Tarkovsky throughout his lifetime. At the Venice Film Festival, the Golden Lion of the for Ivan's Childhood At the Cannes Film Festival, the FIPRESCI prize three times, the Prize of the Ecumenical Jury three times (more than any other director), the Grand Prix Spécial du Jury twice, and the Best Director award once. He was also nominated for the Palme d'Or three times. In 1987, the BAFTA Award for Best Foreign Language Film of the British Academy of Film and Television Arts for The Sacrifice.	Andrei Tarkovsky. Awards and commemoration Numerous awards were bestowed on Tarkovsky throughout his lifetime. At the Venice Film Festival, the Golden Lion of the for Ivan's Childhood At the Cannes Film Festival, the FIPRESCI prize three times, the Prize of the Ecumenical Jury three times (more than any other director), the Grand Prix Spécial du Jury twice, and the Best Director award once. He was also nominated for the Palme d'Or three times. In 1987, the BAFTA Award for Best Foreign Language Film of the British Academy of Film and Television Arts for The Sacrifice.	676
wiki20220301en000_3121	Andrei Tarkovsky	Under the influence of Glasnost and Perestroika, Tarkovsky was finally recognized in the Soviet Union in the Autumn of 1986, shortly before his death, by a retrospective of his films in Moscow. After his death, an entire issue of the film magazine Iskusstvo Kino was devoted to Tarkovsky. In their obituaries, the film committee of the Council of Ministers of the Soviet Union and the Union of Soviet Film Makers expressed their sorrow that Tarkovsky had to spend the last years of his life in exile. Posthumously, he was awarded the Lenin Prize in 1990, one of the highest state honors in the Soviet Union. In 1989, the Andrei Tarkovsky Memorial Prize was established, with its first recipient being the Russian animator Yuri Norstein. In three consecutive events, the Moscow International Film Festival awarded the Andrei Tarkovsky Award in 1993, 1995, and 1997.	Andrei Tarkovsky. Under the influence of Glasnost and Perestroika, Tarkovsky was finally recognized in the Soviet Union in the Autumn of 1986, shortly before his death, by a retrospective of his films in Moscow. After his death, an entire issue of the film magazine Iskusstvo Kino was devoted to Tarkovsky. In their obituaries, the film committee of the Council of Ministers of the Soviet Union and the Union of Soviet Film Makers expressed their sorrow that Tarkovsky had to spend the last years of his life in exile. Posthumously, he was awarded the Lenin Prize in 1990, one of the highest state honors in the Soviet Union. In 1989, the Andrei Tarkovsky Memorial Prize was established, with its first recipient being the Russian animator Yuri Norstein. In three consecutive events, the Moscow International Film Festival awarded the Andrei Tarkovsky Award in 1993, 1995, and 1997.	676
wiki20220301en000_3122	Andrei Tarkovsky	In 1996, the Andrei Tarkovsky Museum opened in Yuryevets, his childhood town. A minor planet, 3345 Tarkovskij, discovered by Soviet astronomer Lyudmila Karachkina in 1982, has been named after him. Tarkovsky has been the subject of several documentaries. Most notable is the 1988 documentary Moscow Elegy, by Russian film director Alexander Sokurov. Sokurov's own work has been heavily influenced by Tarkovsky. The film consists mostly of narration over stock footage from Tarkovsky's films. Directed by Andrei Tarkovsky is a 1988 documentary film by Michal Leszczylowski, an editor of the film The Sacrifice. Film director Chris Marker produced the television documentary One Day in the Life of Andrei Arsenevich as an homage to Andrei Tarkovsky in 2000. At the entrance to the Gerasimov Institute of Cinematography in Moscow, there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin.	Andrei Tarkovsky. In 1996, the Andrei Tarkovsky Museum opened in Yuryevets, his childhood town. A minor planet, 3345 Tarkovskij, discovered by Soviet astronomer Lyudmila Karachkina in 1982, has been named after him. Tarkovsky has been the subject of several documentaries. Most notable is the 1988 documentary Moscow Elegy, by Russian film director Alexander Sokurov. Sokurov's own work has been heavily influenced by Tarkovsky. The film consists mostly of narration over stock footage from Tarkovsky's films. Directed by Andrei Tarkovsky is a 1988 documentary film by Michal Leszczylowski, an editor of the film The Sacrifice. Film director Chris Marker produced the television documentary One Day in the Life of Andrei Arsenevich as an homage to Andrei Tarkovsky in 2000. At the entrance to the Gerasimov Institute of Cinematography in Moscow, there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin.	676
wiki20220301en000_3123	Andrei Tarkovsky	At the entrance to the Gerasimov Institute of Cinematography in Moscow, there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin. Reception and influence on others Andrei Tarkovsky and his works have received praise from many filmmakers, critics and thinkers. The Swedish filmmaker Ingmar Bergman was quoted as saying: "Tarkovsky for me is the greatest [of us all], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream".	Andrei Tarkovsky. At the entrance to the Gerasimov Institute of Cinematography in Moscow, there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin. Reception and influence on others Andrei Tarkovsky and his works have received praise from many filmmakers, critics and thinkers. The Swedish filmmaker Ingmar Bergman was quoted as saying: "Tarkovsky for me is the greatest [of us all], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream".	676
wiki20220301en000_3124	Andrei Tarkovsky	The Japanese filmmaker Akira Kurosawa remarked on Tarkovsky's films as saying: "His unusual sensitivity is both overwhelming and astounding. It almost reaches a pathological intensity. Probably there is no equal among film directors alive now." Kurosawa also commented: "I love all of Tarkovsky's films. I love his personality and all his works. Every cut from his films is a marvelous image in itself. But the finished image is nothing more than the imperfect accomplishment of his idea. His ideas are only realized in part. And he had to make do with it." The Iranian filmmaker Abbas Kiarostami remarked that: "Tarkovsky's works separate me completely from physical life, and are the most spiritual films I have seen". The Polish filmmaker Krzysztof Kieślowski commented that: "Andrei Tarkovsky was one of the greatest directors of recent years," and regarded Tarkovsky's film, Ivan's Childhood as an influence on his own work.	Andrei Tarkovsky. The Japanese filmmaker Akira Kurosawa remarked on Tarkovsky's films as saying: "His unusual sensitivity is both overwhelming and astounding. It almost reaches a pathological intensity. Probably there is no equal among film directors alive now." Kurosawa also commented: "I love all of Tarkovsky's films. I love his personality and all his works. Every cut from his films is a marvelous image in itself. But the finished image is nothing more than the imperfect accomplishment of his idea. His ideas are only realized in part. And he had to make do with it." The Iranian filmmaker Abbas Kiarostami remarked that: "Tarkovsky's works separate me completely from physical life, and are the most spiritual films I have seen". The Polish filmmaker Krzysztof Kieślowski commented that: "Andrei Tarkovsky was one of the greatest directors of recent years," and regarded Tarkovsky's film, Ivan's Childhood as an influence on his own work.	676
wiki20220301en000_3125	Andrei Tarkovsky	The Armenian filmmaker Sergei Paradjanov remarked that watching Tarkovsky's film, Ivan's Childhood was his main inspiration to become a filmmaker by saying: "I did not know how to do anything and I would not have done anything if there had not been Ivan's Childhood". The Austrian filmmaker Michael Haneke voted for Mirror on his top 10 films in the 2002 Sight & Sound directors' poll and later said that he has seen the picture at least 25 times. The German filmmaker Wim Wenders dedicated his film Wings of Desire to Tarkovsky (along with François Truffaut and Yasujirō Ozu). The French filmmaker Chris Marker directed a documentary film as a homage to Tarkovsky called One Day in the Life of Andrei Arsenevich and used Tarkovsky's concept of "The Zone" (from the film, Stalker) for his film, Sans Soleil. The Greek filmmaker Theo Angelopoulos regarded Tarkokvsky's film Stalker as one of the films that influenced him.	Andrei Tarkovsky. The Armenian filmmaker Sergei Paradjanov remarked that watching Tarkovsky's film, Ivan's Childhood was his main inspiration to become a filmmaker by saying: "I did not know how to do anything and I would not have done anything if there had not been Ivan's Childhood". The Austrian filmmaker Michael Haneke voted for Mirror on his top 10 films in the 2002 Sight & Sound directors' poll and later said that he has seen the picture at least 25 times. The German filmmaker Wim Wenders dedicated his film Wings of Desire to Tarkovsky (along with François Truffaut and Yasujirō Ozu). The French filmmaker Chris Marker directed a documentary film as a homage to Tarkovsky called One Day in the Life of Andrei Arsenevich and used Tarkovsky's concept of "The Zone" (from the film, Stalker) for his film, Sans Soleil. The Greek filmmaker Theo Angelopoulos regarded Tarkokvsky's film Stalker as one of the films that influenced him.	676
wiki20220301en000_3126	Andrei Tarkovsky	The Greek filmmaker Theo Angelopoulos regarded Tarkokvsky's film Stalker as one of the films that influenced him. The Greek-Australian filmmaker Alex Proyas was "extremely influenced" by Tarkovsky's work and cited Stalker as one his favorite films. The French philosopher Jean-Paul Sartre highly praised Tarkovsky's film Ivan's Childhood, saying that it was one of the most beautiful films he had ever seen. The Japanese filmmaker Mamoru Oshii, known for his works such as Ghost in the Shell was influenced by Tarkovsky. The Indian-born British American novelist Salman Rushdie praised Tarkovsky and his work Solaris by calling it a "a sci-fi masterpiece". Film historian Steven Dillon says that much of subsequent film was deeply influenced by the films of Tarkovsky.	Andrei Tarkovsky. The Greek filmmaker Theo Angelopoulos regarded Tarkokvsky's film Stalker as one of the films that influenced him. The Greek-Australian filmmaker Alex Proyas was "extremely influenced" by Tarkovsky's work and cited Stalker as one his favorite films. The French philosopher Jean-Paul Sartre highly praised Tarkovsky's film Ivan's Childhood, saying that it was one of the most beautiful films he had ever seen. The Japanese filmmaker Mamoru Oshii, known for his works such as Ghost in the Shell was influenced by Tarkovsky. The Indian-born British American novelist Salman Rushdie praised Tarkovsky and his work Solaris by calling it a "a sci-fi masterpiece". Film historian Steven Dillon says that much of subsequent film was deeply influenced by the films of Tarkovsky.	676
wiki20220301en000_3127	Andrei Tarkovsky	Film historian Steven Dillon says that much of subsequent film was deeply influenced by the films of Tarkovsky. Mexican filmmaker Alejandro González Iñarritu is a huge fan of Tarkovsky. He once said in an interview: "Andrei Rublev is maybe my favorite film ever", and in another interview, he added: "I remember, the first time I saw a Tarkovsky film, I was shocked by it. I did not know what to do. I was shocked by it. I was fascinated, because suddenly I realized that film could have so many more layers to it than what I had imagined before". There are many direct references and hidden tributes to Tarkovsky's movies in Iñarritu's drama The Revenant. Danish film director Lars von Trier is a fervent admirer of Tarkovsky's. He dedicated his film Antichrist to him, and, while discussing it with critic David Jenkins, asked: “Have you seen Mirror? I was hypnotised! I’ve seen it 20 times. It’s the closest thing I’ve got to a religion – to me he is a god".	Andrei Tarkovsky. Film historian Steven Dillon says that much of subsequent film was deeply influenced by the films of Tarkovsky. Mexican filmmaker Alejandro González Iñarritu is a huge fan of Tarkovsky. He once said in an interview: "Andrei Rublev is maybe my favorite film ever", and in another interview, he added: "I remember, the first time I saw a Tarkovsky film, I was shocked by it. I did not know what to do. I was shocked by it. I was fascinated, because suddenly I realized that film could have so many more layers to it than what I had imagined before". There are many direct references and hidden tributes to Tarkovsky's movies in Iñarritu's drama The Revenant. Danish film director Lars von Trier is a fervent admirer of Tarkovsky's. He dedicated his film Antichrist to him, and, while discussing it with critic David Jenkins, asked: “Have you seen Mirror? I was hypnotised! I’ve seen it 20 times. It’s the closest thing I’ve got to a religion – to me he is a god".	676
wiki20220301en000_3128	Andrei Tarkovsky	See also European art cinema Slow cinema Moscow International Film Festival ReferencesNotesBibliography''' Schmidt, Stefan W. (2016). "Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia." Journal of Aesthetics and Phenomenology, 3 (1): 27–41. Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia Tumanov, Vladimir (2016). "Philosophy of Mind and Body in Andrei Tarkovsky's Solaris." Film-Philosophy''. 20 (2-3): 357–375. DOI: Philosophy of Mind and Body in Andrei Tarkovsky's Solaris Further reading External links Andrei Tarkovsky at Senses of Cinema Website about Andrei Tarkovsky, Films, Articles, Interviews Andrei Tarkovsky: Biography wrestles with the filmmaker's remarkable life Nostalghia.com - An Andrei Tarkovsky Information Site, at Film Studies Program in the Department of Communication and Culture, University of Calgary	Andrei Tarkovsky. See also European art cinema Slow cinema Moscow International Film Festival ReferencesNotesBibliography''' Schmidt, Stefan W. (2016). "Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia." Journal of Aesthetics and Phenomenology, 3 (1): 27–41. Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia Tumanov, Vladimir (2016). "Philosophy of Mind and Body in Andrei Tarkovsky's Solaris." Film-Philosophy''. 20 (2-3): 357–375. DOI: Philosophy of Mind and Body in Andrei Tarkovsky's Solaris Further reading External links Andrei Tarkovsky at Senses of Cinema Website about Andrei Tarkovsky, Films, Articles, Interviews Andrei Tarkovsky: Biography wrestles with the filmmaker's remarkable life Nostalghia.com - An Andrei Tarkovsky Information Site, at Film Studies Program in the Department of Communication and Culture, University of Calgary	676
wiki20220301en000_3129	Andrei Tarkovsky	1932 births 1986 deaths 20th-century Russian diarists 20th-century Russian male actors 20th-century Russian male writers 20th-century Russian non-fiction writers 20th-century Russian screenwriters Burials at Sainte-Geneviève-des-Bois Russian Cemetery Cannes Film Festival Award for Best Director winners Deaths from cancer in France Deaths from lung cancer Directors of Golden Lion winners Film directors from Kostroma Oblast Filmmakers who won the Best Foreign Language Film BAFTA Award Gerasimov Institute of Cinematography alumni High Courses for Scriptwriters and Film Directors faculty Lenin Prize winners Male actors from Ivanovo Oblast Male actors from Kostroma Oblast People from Kadyysky District People's Artists of the RSFSR Russian experimental filmmakers Russian male film actors Russian opera directors Russian Orthodox Christians from Russia Russian people of Polish descent Russian people of Romanian descent Science fiction film directors Soviet diarists	Andrei Tarkovsky. 1932 births 1986 deaths 20th-century Russian diarists 20th-century Russian male actors 20th-century Russian male writers 20th-century Russian non-fiction writers 20th-century Russian screenwriters Burials at Sainte-Geneviève-des-Bois Russian Cemetery Cannes Film Festival Award for Best Director winners Deaths from cancer in France Deaths from lung cancer Directors of Golden Lion winners Film directors from Kostroma Oblast Filmmakers who won the Best Foreign Language Film BAFTA Award Gerasimov Institute of Cinematography alumni High Courses for Scriptwriters and Film Directors faculty Lenin Prize winners Male actors from Ivanovo Oblast Male actors from Kostroma Oblast People from Kadyysky District People's Artists of the RSFSR Russian experimental filmmakers Russian male film actors Russian opera directors Russian Orthodox Christians from Russia Russian people of Polish descent Russian people of Romanian descent Science fiction film directors Soviet diarists	676
wiki20220301en000_3130	Andrei Tarkovsky	Russian opera directors Russian Orthodox Christians from Russia Russian people of Polish descent Russian people of Romanian descent Science fiction film directors Soviet diarists Soviet documentary film directors Soviet emigrants to France Soviet emigrants to Italy Soviet film directors Soviet male film actors Soviet non-fiction writers Soviet screenwriters Writers from Ivanovo Oblast Writers from Kostroma Oblast	Andrei Tarkovsky. Russian opera directors Russian Orthodox Christians from Russia Russian people of Polish descent Russian people of Romanian descent Science fiction film directors Soviet diarists Soviet documentary film directors Soviet emigrants to France Soviet emigrants to Italy Soviet film directors Soviet male film actors Soviet non-fiction writers Soviet screenwriters Writers from Ivanovo Oblast Writers from Kostroma Oblast	676
wiki20220301en000_3131	Ambiguity	Ambiguity is a type of meaning in which a phrase, statement or resolution is not explicitly defined, making several interpretations plausible. A common aspect of ambiguity is uncertainty. It is thus an attribute of any idea or statement whose intended meaning cannot be definitively resolved according to a rule or process with a finite number of steps. (The ambi- part of the term reflects an idea of "two", as in "two meanings".) The concept of ambiguity is generally contrasted with vagueness. In ambiguity, specific and distinct interpretations are permitted (although some may not be immediately obvious), whereas with information that is vague, it is difficult to form any interpretation at the desired level of specificity.	Ambiguity. Ambiguity is a type of meaning in which a phrase, statement or resolution is not explicitly defined, making several interpretations plausible. A common aspect of ambiguity is uncertainty. It is thus an attribute of any idea or statement whose intended meaning cannot be definitively resolved according to a rule or process with a finite number of steps. (The ambi- part of the term reflects an idea of "two", as in "two meanings".) The concept of ambiguity is generally contrasted with vagueness. In ambiguity, specific and distinct interpretations are permitted (although some may not be immediately obvious), whereas with information that is vague, it is difficult to form any interpretation at the desired level of specificity.	677
wiki20220301en000_3132	Ambiguity	Linguistic forms Lexical ambiguity is contrasted with semantic ambiguity. The former represents a choice between a finite number of known and meaningful context-dependent interpretations. The latter represents a choice between any number of possible interpretations, none of which may have a standard agreed-upon meaning. This form of ambiguity is closely related to vagueness. Linguistic ambiguity can be a problem in law, because the interpretation of written documents and oral agreements is often of paramount importance.	Ambiguity. Linguistic forms Lexical ambiguity is contrasted with semantic ambiguity. The former represents a choice between a finite number of known and meaningful context-dependent interpretations. The latter represents a choice between any number of possible interpretations, none of which may have a standard agreed-upon meaning. This form of ambiguity is closely related to vagueness. Linguistic ambiguity can be a problem in law, because the interpretation of written documents and oral agreements is often of paramount importance.	677
wiki20220301en000_3133	Ambiguity	Linguistic ambiguity can be a problem in law, because the interpretation of written documents and oral agreements is often of paramount importance. Lexical ambiguity The lexical ambiguity of a word or phrase pertains to its having more than one meaning in the language to which the word belongs. "Meaning" here refers to whatever should be captured by a good dictionary. For instance, the word "bank" has several distinct lexical definitions, including "financial institution" and "edge of a river". Or consider "apothecary". One could say "I bought herbs from the apothecary". This could mean one actually spoke to the apothecary (pharmacist) or went to the apothecary (pharmacy).	Ambiguity. Linguistic ambiguity can be a problem in law, because the interpretation of written documents and oral agreements is often of paramount importance. Lexical ambiguity The lexical ambiguity of a word or phrase pertains to its having more than one meaning in the language to which the word belongs. "Meaning" here refers to whatever should be captured by a good dictionary. For instance, the word "bank" has several distinct lexical definitions, including "financial institution" and "edge of a river". Or consider "apothecary". One could say "I bought herbs from the apothecary". This could mean one actually spoke to the apothecary (pharmacist) or went to the apothecary (pharmacy).	677
wiki20220301en000_3134	Ambiguity	The context in which an ambiguous word is used often makes it evident which of the meanings is intended. If, for instance, someone says "I buried $100 in the bank", most people would not think someone used a shovel to dig in the mud. However, some linguistic contexts do not provide sufficient information to disambiguate a used word. Lexical ambiguity can be addressed by algorithmic methods that automatically associate the appropriate meaning with a word in context, a task referred to as word sense disambiguation.	Ambiguity. The context in which an ambiguous word is used often makes it evident which of the meanings is intended. If, for instance, someone says "I buried $100 in the bank", most people would not think someone used a shovel to dig in the mud. However, some linguistic contexts do not provide sufficient information to disambiguate a used word. Lexical ambiguity can be addressed by algorithmic methods that automatically associate the appropriate meaning with a word in context, a task referred to as word sense disambiguation.	677
wiki20220301en000_3135	Ambiguity	Lexical ambiguity can be addressed by algorithmic methods that automatically associate the appropriate meaning with a word in context, a task referred to as word sense disambiguation. The use of multi-defined words requires the author or speaker to clarify their context, and sometimes elaborate on their specific intended meaning (in which case, a less ambiguous term should have been used). The goal of clear concise communication is that the receiver(s) have no misunderstanding about what was meant to be conveyed. An exception to this could include a politician whose "weasel words" and obfuscation are necessary to gain support from multiple constituents with mutually exclusive conflicting desires from their candidate of choice. Ambiguity is a powerful tool of political science.	Ambiguity. Lexical ambiguity can be addressed by algorithmic methods that automatically associate the appropriate meaning with a word in context, a task referred to as word sense disambiguation. The use of multi-defined words requires the author or speaker to clarify their context, and sometimes elaborate on their specific intended meaning (in which case, a less ambiguous term should have been used). The goal of clear concise communication is that the receiver(s) have no misunderstanding about what was meant to be conveyed. An exception to this could include a politician whose "weasel words" and obfuscation are necessary to gain support from multiple constituents with mutually exclusive conflicting desires from their candidate of choice. Ambiguity is a powerful tool of political science.	677
wiki20220301en000_3136	Ambiguity	More problematic are words whose senses express closely related concepts. "Good", for example, can mean "useful" or "functional" (That's a good hammer), "exemplary" (She's a good student), "pleasing" (This is good soup), "moral" (a good person versus the lesson to be learned from a story), "righteous", etc. "I have a good daughter" is not clear about which sense is intended. The various ways to apply prefixes and suffixes can also create ambiguity ("unlockable" can mean "capable of being unlocked" or "impossible to lock"). Semantic and syntactic ambiguity Semantic ambiguity occurs when a word, phrase or sentence, taken out of context, has more than one interpretation. In "We saw her duck" (example due to Richard Nordquist), the words "her duck" can refer either to the person's bird (the noun "duck", modified by the possessive pronoun "her"), or to a motion she made (the verb "duck", the subject of which is the objective pronoun "her", object of the verb "saw").	Ambiguity. More problematic are words whose senses express closely related concepts. "Good", for example, can mean "useful" or "functional" (That's a good hammer), "exemplary" (She's a good student), "pleasing" (This is good soup), "moral" (a good person versus the lesson to be learned from a story), "righteous", etc. "I have a good daughter" is not clear about which sense is intended. The various ways to apply prefixes and suffixes can also create ambiguity ("unlockable" can mean "capable of being unlocked" or "impossible to lock"). Semantic and syntactic ambiguity Semantic ambiguity occurs when a word, phrase or sentence, taken out of context, has more than one interpretation. In "We saw her duck" (example due to Richard Nordquist), the words "her duck" can refer either to the person's bird (the noun "duck", modified by the possessive pronoun "her"), or to a motion she made (the verb "duck", the subject of which is the objective pronoun "her", object of the verb "saw").	677
wiki20220301en000_3137	Ambiguity	Syntactic ambiguity arises when a sentence can have two (or more) different meanings because of the structure of the sentence—its syntax. This is often due to a modifying expression, such as a prepositional phrase, the application of which is unclear. "He ate the cookies on the couch", for example, could mean that he ate those cookies that were on the couch (as opposed to those that were on the table), or it could mean that he was sitting on the couch when he ate the cookies. "To get in, you will need an entrance fee of $10 or your voucher and your drivers' license." This could mean that you need EITHER ten dollars OR BOTH your voucher and your license. Or it could mean that you need your license AND you need EITHER ten dollars OR a voucher. Only rewriting the sentence, or placing appropriate punctuation can resolve a syntactic ambiguity.	Ambiguity. Syntactic ambiguity arises when a sentence can have two (or more) different meanings because of the structure of the sentence—its syntax. This is often due to a modifying expression, such as a prepositional phrase, the application of which is unclear. "He ate the cookies on the couch", for example, could mean that he ate those cookies that were on the couch (as opposed to those that were on the table), or it could mean that he was sitting on the couch when he ate the cookies. "To get in, you will need an entrance fee of $10 or your voucher and your drivers' license." This could mean that you need EITHER ten dollars OR BOTH your voucher and your license. Or it could mean that you need your license AND you need EITHER ten dollars OR a voucher. Only rewriting the sentence, or placing appropriate punctuation can resolve a syntactic ambiguity.	677
wiki20220301en000_3138	Ambiguity	For the notion of, and theoretic results about, syntactic ambiguity in artificial, formal languages (such as computer programming languages), see Ambiguous grammar.	Ambiguity. For the notion of, and theoretic results about, syntactic ambiguity in artificial, formal languages (such as computer programming languages), see Ambiguous grammar.	677
wiki20220301en000_3139	Ambiguity	Usually, semantic and syntactic ambiguity go hand in hand. The sentence "We saw her duck" is also syntactically ambiguous. Conversely, a sentence like "He ate the cookies on the couch" is also semantically ambiguous. Rarely, but occasionally, the different parsings of a syntactically ambiguous phrase result in the same meaning. For example, the command "Cook, cook!" can be parsed as "Cook (noun used as vocative), cook (imperative verb form)!", but also as "Cook (imperative verb form), cook (noun used as vocative)!". It is more common that a syntactically unambiguous phrase has a semantic ambiguity; for example, the lexical ambiguity in "Your boss is a funny man" is purely semantic, leading to the response "Funny ha-ha or funny peculiar?"	Ambiguity. Usually, semantic and syntactic ambiguity go hand in hand. The sentence "We saw her duck" is also syntactically ambiguous. Conversely, a sentence like "He ate the cookies on the couch" is also semantically ambiguous. Rarely, but occasionally, the different parsings of a syntactically ambiguous phrase result in the same meaning. For example, the command "Cook, cook!" can be parsed as "Cook (noun used as vocative), cook (imperative verb form)!", but also as "Cook (imperative verb form), cook (noun used as vocative)!". It is more common that a syntactically unambiguous phrase has a semantic ambiguity; for example, the lexical ambiguity in "Your boss is a funny man" is purely semantic, leading to the response "Funny ha-ha or funny peculiar?"	677