Tarkovski semble nous dire ici que non seulement il n’aura jamais parlé à sa classe d’accueil (la bourgeoisie "éclairée" européenne), mais que de plus il n’aura pas su s’allier à d’autres. Tarkovsky’s greatest achievement in film is to make this homage to his “mom” as a dream-memory of a time-image that is reflected in a Mirror. Pourquoi Papa ? Here is a video essay about Andrei Tarkovsky's 1979 film Stalker. Inger Pehrsson, Création des décors : Elle représente l’idée schématique que se fait Tarkovski de l’individu moderne : frivole, égocentrique, obsédée par la dimension sociale des choses, incapable d’accepter ce qu’on ne peut pas expliquer. Here, the plaster on the ceiling of a not so easily identifiable room begins to disintegrate, falling in slow motion onto a spatial position previously occupied by the young woman with wet hair. La suite, le sacrifice final, justifie à lui seul ce film dont nous ne savons nous-mêmes pour le reste quoi penser exactement. It is the door entrance of the dacha reflected in an old Mirror. Ce plan-séquence à l’exécution parfaite (du moins dans sa seconde version, la pellicule ayant cessé de filmer lors de la première mise à feu du bâtiment, ce qui  a nécessité de le reconstruire pour tourner à nouveau) exprime le point de crise irrésoluble où se trouve Tarkovski : son projet sublime le met au ban de la communauté des hommes, celui qui a retrouvé un cœur pur est écarté de la vie civile. Le Sacrifice est intéressant de ce point de vue car, encourant toujours ce risque, il en fait une question majeure que le film se pose à lui-même. We hear again the eerie, celestial humming that seems to have grown into stormy orchestration of a ship’s bell ringing, muffled with the sounds of train wheels passing over railroad tracks – like the synthesized sounds of an oncoming storm. Si d’autres cinéastes slaves plus jet-setteurs (Polanski, par exemple) ont bon an mal an su s’accommoder de la vie d’exil, il va de soi que cette expérience traumatise Tarkovski et que ses derniers films (on serait tenté de parler de seconde manière) s’en ressentent fortement. Get free, customized ideas to outsmart competitors and take your search marketing results to the next level with Alexa's Site Overview tool. Erland Josephson, As the camera tracks-and-pans her going toward the door entrance, we see in the right top corner of the screen a clock, located above a bright lit area of the wall that reveals the log-cabin structure of the dacha. Oxford and New York: Oxford University Press, 1998, 58 – 66. Toujours est-il qu’ils nous mènent quelque part, vers ce final, parmi les plus poignants qu’ait tournés Tarkovski. 28 minutes (6769 words), Mirror is a direct image of time created by a flux of thought-images (or thought-waves) propagating in the time-memory universe of Alexei’s mind. Home Home. Tarkovski sort son film à Cannes, où il est couronné d’un nouveau Grand Prix. Sheetova, Vera. She walks screen left past the two young children, a boy and a girl, who were at the table at the center of the room, passing another window in the background of the dacha that strongly lights up the inside of the room. Se rendant à vélo chez la bonne en pleine nuit, il se confie à elle, révèle sans fard son amertume, sa déception face au monde (en l’image d’un jardin d’enfance magnifique qui lui était devenu horriblement indifférent), son désenchantement. The woman’s wet hair is covered by a shawl or bathrobe over her shoulders. Il a déjà quitté l’Italie pour rejoindre la Suède. To supplement my analysis of Tarkovsky’s theory of time-pressure in Mirror, a partial scene/shot breakdown with detailed audiovisual description has been included as an appendix at the end of this work. Calcutta: Seagull Books, 1991. Being a versatile artist he was able to create a synthesis of arts in his films. Ian Christie. The little boy sits up as we see him from a different perspective. (18”), 10. It begins to move again as a ceiling oil lamp appears in our view. EXTERIOR – DAY – BUCKWHEAT FIELD: 1. Face au chaos, la première impulsion d’Alexander est de se préparer à abattre l’enfant qui dort, à tuer, devant l’horreur du monde, la dernière innocence. A History of Narrative Film. Volume 7, Issue 8 / August 2003 The landscape is bluish green but the characters’ faces are luminescent with red, orange and yellow colors. Si Alexander, au fond de lui, vraiment, veut la paix, il l’obtiendra pour le monde entier. These films achieve a kinesthetic feeling of time through the sensory-motor link that they continuously disrupt. Elle refuse d’aimer car l’amour, explique-t-elle, implique toujours l’acceptation d’une position de vulnérabilité et que la faiblesse est intolérable à cette femme obsédée par l’emprise sociale. Ce sacrifice (rappelant Abraham prêt à sacrifier son fils), il y renonce. The camera moves through the right side of the door and past this boy, revealing in a track-and-pan motion a woman dressed with a dark heavy sweater and wearing a deep dark red dress, standing in a full shot in the front yard and looking at a burning barn. It is a poetic and atypical story of a guide, a stalker, taking an artist and a scientist, to a forbidden area called the “Zone” to find the “Room”, which is said to grant the wishes of anyone who enters. D’un point de vue strictement individuel, son projet a échoué. Trans. Trans. Mirror is a mood film at heart. Film Theory and Criticism: Introductory Readings. It continues its movement with a track that circles around her, to a position behind her back, where it turns to view the woman against the background of the buckwheat field as she blows smoke in the wind (similar camera POV as in shot 1). Ed. Alexander apprend d’Otto, un ancien instituteur qui ne livre désormais le courrier que pour financer ses recherches sur le paranormal, qu’il y a sur l’île une sorcière, à même de réaliser les désirs purs de chacun. Totaro, Donato. A straight cut of a woman in long shot, sitting side saddle on an old wooden fence, smoking a cigarette and facing opposite camera toward a huge buckwheat field in the background. The camera leaves him and begins to pan left with a slight tilt down toward the woman on the fence. The protagonist, Andrei Gorchakov (Oleg Yankovsky), is a poet undertaking research in Italy on the life of an eighteenth-century Russian composer. Tarkovski dédie par un carton le film à son fils laissé en Russie (que, selon son souhait, il reverra bientôt), « avec espoir et confiance ». Le film fait également référence au film précédent de Tarkovsky en 1966, Andreï Roublev, en plaçant l’icône d’Andreï Roublev dans la chambre de Kelvin. Svenska Filminstitutet (SFI), The camera stares at the woman who stays immobile for a time; and then she looks right when the sound of rattling is heard. nostalghia (Andrei Tarkovsky, 1983) is a melancholic journey through a Russian poet’s personal history and his feelings of nostalgia for his homeland. Her hair is blond like yellow straw. He also followed this path in his later films produced without Artemiev. Si Roublev a bel et bien existé, nous ne savons rien ou presque, de sa vie. (53”), 20. Nous ne verrons nulle trace de la lutte, tout au plus un commentaire télévisé sans que nous ne voyions ce qui est montré à l’écran. The re-constructed house of Tarkovsky’s childhood, set against a buckwheat field backdrop, recreates a personal history that is both real and imaginary; and where there is no distinct separation between interior and exterior spaces. The longing for freedom is at the heart of Mirror as is the fear of loosing it, because hypnosis can never be a cure to stuttering (am emotional problem reflected through language). 14. The out-of-focused image of a little boy in dark shorts is seen standing facing out near its right edge. by David George Menard 1, Winter 1984/85, 50-54. Ed. A fire in an outside stove with its door opened is seen behind the boy, a pot appears to be on top boiling a liquid into the air. Andreï Roublev n’est pas un film historique ni un film biographique, et Tarkovski a pu exprimer ne pas avoir pensé en termes de film historique. A bright area lies behind, a shade partially covering a lit window. It is representative of the time-thrust that propagates through the film, enabling the linkage of past (film’s beginning) and present (film’s ending) to be achieved through a process of memory renewal in the present (Alexei’s childhood memories). 1 – 49. There is hope in this film because in the prologue the stuttering is hypnotically suppressed when the teenager says: “I can speak.” This event announces the emotional emancipation of the filmmaker through his characters. A straight cut to the woman in right profile and close-up (shoulder shot), still smoking passively. Il l’émeut, puis l’effraie en lui révélant ses pulsions suicidaires, elle se dénude, prend le vieil homme comme un enfant. The camera moves in on her, still in close-up, panning rightward as she begins to move quickly screen right, causing us to think that the camera has redirected its movement in a leftward pan. There is an apparent hidden cut in shot 21 that results from a camera pan across the image of the young woman who is looking at herself in the Mirror, to a blackened screen, and then the pan continues to another space and a different time (the present) where an older woman (Alexei’s mother) is seen simultaneously as an actual (physical) and virtual (memory) image existing as the reflection off the surface of a Mirror (crystal-image). I will look closely at the first shots of the pre-credit scene and the first 22 shots of the opening sequences of the film. As the camera pauses on the woman who remains in the shadows near the desk, she suddenly hears a ruckus; and then turns toward the camera as we hear the barking of a dog. Cette sorcière n’est autre que Maria, la bonne de cette famille bourgeoise. A straight cut is made back to the man and woman in long shot but from a different perspective. Zorkaya, Neya. The significance of the Mirror motif occurs here as it did earlier when the young woman looks into a clouded Mirror and sees herself as an older woman (played by Tarkovsky’s real mother, Maria Tarkovskaya). Le projet transcendant d'Andrei Tarkovski s’accomplit dans une impasse sociale. The camera pauses for a few seconds as it slightly pulls back and tracks left to a point when a strange wind gusts through the brush. She is looking obliquely right near the front of the camera. This strange landscape is the Zone, the site of a metaphysical trauma around which armed guards patrol. (13”). Totaro, Donato. Cette guerre qui fait rage au dehors, c’est aussi pour Tarkovski (nous sommes en 86, avant la chute du Mur) la crainte, encore présente pour tous alors, du cataclysme nucléaire. Tarkovsky’s neo-formal theory of sculpting in time integrates earlier elements from Eisenstein formal theory and then goes on to re-theorizing about the essential nature of cinema. Daniel J. Goulding. “Gilles Deleuze’s Bergsonian Film Project – Part 1: Cinema 1: The Movement-Image.” Online at Offscreen March 31, 1999. He was one of the most educated directors – he studied music and painting, he was born into the family of a poet. New York: McGraw-Hill, 2001. Kitty Hunter-Blair. “Gilles Deleuze’s Bergsonian Film Project – Part 2: Cinema 2: The time-image.” Online at Offscreen March 31, 1999. The camera is panning left as we hear someone shouting. There is no wind this time as the voice-over begins to recite a poem from the poetry of Arseni Tarkovsky. Ils lévitent, dans une image à la sensualité inattendue du besoin humain de se réconforter dans l’intimité face à la douleur de l’existence. It continues its cinematographic leftward pursuit until the screen is completely black. Documentary realism, boom shadow and all. Drame, Réalisé par : Anna-Lena Wibom, Studios de production : » S’il peut l’aimer, son vœu le plus cher se réalisera. This first post-credit scene (shots: 1 – 11) in Mirror is important because it is the all pervasive crystal-image that carries the force of the time-memory through the entire film. She decides to move screen right to a desk near a window where she picks up a book that she opens momentarily. The camera tilts upward revealing a semi-circular string of bushes that complete the view of the mid-ground, as we see further behind a clearing which again separates a forest background. We can see the pressure of the air against his body. Susan Fleetwood, John Hill and Pamela Church Gibson. Mais le regard de Tarkovski dépasse toujours l’individu. Time Within Time: The Diaries 1970 – 1986. Totaro, Donato. She looks down and turns, almost looking directly into the camera, then she stops as the camera continues to move leftward, panning her face in a medium close-up. Il pérore, seul, dans une forêt (sur le cours désastreux du monde, l’échec du progrès, l’absence de haute conscience en l’homme), sans interlocuteur. Posted on February 9, 2016 November 23, 2019 by Ben Wilson. Dialogue and audiovisuals are combined to convey daydreams and time-memories about the past, present and future. A straight cut to the exterior of the dacha at night looking into a wooded brush area. Sixth Edition. They mold the temporal momentum or mass that flows in all of Tarkovsky’s films. En cette moitié de décennie des années 80, le divorce d'Andrei Tarkovski d’avec sa patrie natale est entièrement consommé. Tarkovsky sets up the story in a dacha specifically to evoke/recreate the time-memory elements of his childhood. I If you’re familiar with his work, you’ll know how it draws you in with distinct visuals, natural sounds and silence, long takes, and well-composed scenes. Andrei Arsenyevich Tarkovsky (1932-1986) was a Russian filmmaker and writer. Filippa Franzén, Montage : David George Menard is a Polymath Physicist and Filmmaker, a Physics MSc graduate from the University of Tennessee Space Institute, Tullahoma, TN. A straight cut to a black screen with white lettering giving the film’s title – ‘The Looking Glass’ (5”). The children appear to be sleeping. Il collabore pour ce qui se sera son dernier film avec la Svenska-Filminstitutet, dans une production franco-suédoise (une certaine Claire Denis est créditée au générique). The _time-thrusts reflect the forces of memory that reside in the mind-brain where they can continually renew themselves in the present moment, allowing the perception of time to become like a taut string or sheet, sustaining a tension between present and past that creates a broken representation of the individual, as represented by the stuttering subject in the pre-credit sequence of the film (a unusual montage strategy). I hope you like it! Sa première confrontation, à Otto le Facteur, sorte de philosophe du dimanche, est un gentil échec. A fire is seen in a Mirror screen left. Petric, Vlada. (45”), 2. A straight cut to two young boys in long shot, laying stretched out in a hammock and facing each other. 1, Fall 1981, pp. (2’00”), 7. He is sleeping. The camera arrives at the entrance of a lit doorway, where, against the logics of time and space, the same woman, Maria, is seen; behind her and on the other side of the door we see a bricked surface background. London & New York: Faber and Faber, 1999. SCENE 5: INTERIOR – TIME OF DAY UNKNOWN – DACHA: 19. It functions overtonally (Eisenstein’s overtonal montage) as a single, unified memory-image within a history fragmented in time. (Risque existant toujours, si l’on en croit l’avancée annuelle de l’horloge atomique). The pre-credit opening scene of Mirror is unique because it precedes the credits and involves two shots, one relatively short (20”) as compared a very long one (3’38”). Adelaide (Susan Fletwood), cette épouse haineuse, est celle par qui la guerre se déclare. De ce malaise du déracinement, il a tiré Nostalghia. Andrei Tarkovsky is not an exception – like Eisenstein, he has become an icon of Russian filmmaking. In effect, Mirror breaches the movement-image structure by implanting a time-image mesh (a mesh => “gaps”) at the heart of an infraction in the steady flow of time. Le projet transcendant d'Andrei Tarkovski s’accomplit dans une impasse sociale. The stuttering of the teenager hints at the fragmentation of the spoken language and to the fractured representation of the self as written subject. Tarkovsky presents a Möbius strip of distressingly nostalgic periods in the USSR (Russian & world histories), filtered through Alexei’s personal history. His films are poetic, hypnotic, ethereal, and profoundly philosophical. Hey everybody! There is a huge blinding blaze on the left side of the screen. Atwell, Lee. The color of her face glows with a golden yellow light. He cast both his real mother, Maria Tarkovskaya, for the part of Alexei’s mother as an old woman and his 2nd wife, Larissa Tarkovskaya, who plays the role of the doctor’s wife in the “earring scene.”. Cinema 2: The _time-image_. Guðrún Gísladóttir, My name is Yuri Zhary.” (20”), 2. There is a fire burning in the background. Andrei Tarkovsky / The Mirror. Mirror is a dream-memory unfolding within the narrator Alexei’s personal history. » Andrei Tarkovski. A straight cut back to the boy sleeping in his bed (similar to shot 15). In Andrei Tarkovsky’s Stalker, three men leave the confines of a rotting Eastern European city and walk through a pleasant-looking rural setting. 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