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The article analyzes the work of film director Andrei Tarkovsky through an appeal to modern scientific versions of the interpretation of his films. The problematic of the study is related to the fact that despite the significant corpus of works devoted to A. Tarkovsky, not all of them realize the possible potential of a philosophical examination of his legacy. They often traditionally either join the pathetic admiration for his films or pay primary attention to their biographical and production aspects. The article attempts to turn to some modern theoretical studies, the authors of which offer versions of philosophical reflection of A. Tarkovsky’s works. It seems that this will allow us to identify possible relevant approaches to the analysis of A. Tarkovsky’s films. In this regard, the article describes some aspects of the explanations of A. Tarkovsky’s films, firstly, in the theological plane, which reveals their potential in the realization of a number of theological motives and religious practices, primarily prayer and contemplation. The article also describes possible psychoanalytic meanings of his work. In addition, the article reveals the anti-realistic aspects of the cinema of A. Tarkovsky, in whose films phantasmagoric elements become a way of expanding the boundaries of reality and constructing a special aesthetic environment.

The broad topic “Tarkovsky and painting” contains commonalities, such as the director’s citing of the paintings by Pieter Bruegel or Leonardo da Vinci, but there are also less explored aspects. The latter include A. Tarkovsky’s method of working with images based on the work principles of the old masters of painting; implicit references and allusions not just to individual paintings, often not yet described, but to the entire worlds of certain authors or movements; and a total commitment to quotation together with a skilful and deliberate disguise of the technique, also described by the director in theoretical works. Tarkovsky was an artist in the very first sense of the word — a student of an art school, author of film sketches and storyboards, paintings, and even art history works. However, the main thing regarding the topic “Tarkovsky and painting” is his application of the very vision of a painter in his own work. He worked with frame structures in complex ways, often appealing to the repetition of the recursion technique, like great artists did in their works. He used iconographic repetitions in plots, themes, individual images, details, and motifs of his works. He often implicitly alluded to reference pictorial sources in such a way that without the testimony of colleagues the reference is impossible to guess. He applied the entire philosophical concepts assigned to individual artists and artistic movements and was not afraid to mix eras, using the elements and techniques of his predecessors to create his own film painting, finely crafted but full of anachronisms.

The aim of this research is the cultural, temporal, and spatial displacement of an individual from their native country as a trigger for nostalgia. Consequently, the material for this analysis is drawn from the artistic film Nostalghia (1983), the first work of Soviet/Russian director Andrei Tarkovsky, shot outside the USSR. As this is a work with autobiographical elements, I approach it as a form of emotional expression. Focusing on the experience of nostalgia, Tarkovsky posits the thesis that it is a burdensome, melancholic, and, in its ultimate reaches, deadly experience. In an attempt to find answers to the question why nostalgia is imagined, experienced, or lived in a particular way, I am guided by the basic assumption that it is not only the ambivalent nature of nostalgia itself, but also its effect of being stuck, which makes it an unbearable burden. Being stuck is not devoid of movement, but it lacks action in terms of efficacy and effectiveness. In interpreting the material concerning the experience of nostalgia, its temporal dimension, and its effectiveness, I will rely on the theoretical-methodological concept framework of the anthropology of emotions and migration, as well as Davis's sociology of nostalgia. This analysis indicates that the burden of this emotion, even its potential deadly outcome, lies in the nostalgic experience as a state of being stuck.

The article delves into the intricacies of integrating poetic texts into the discourse of au­thorial cinema. It begins by examining the multifaceted interaction between cinema and poet­ry within contemporary artistic culture, framing author cinematography through the lens of the poetic concept. Intermediality and interdiscursivity are explored as intrinsic properties of cinema, serving as tools for shaping the unique style and aesthetics of filmmakers. Two films, “Stalker” by Andrei Tarkovsky and “Ugly Swans” by Konstantin Lopushansky, are selected as primary sources for analysis due to their continuity and innovative qualities. The research employs a comprehensive methodology, including parameterization of linguistic creativity, corpus annotation, and conceptual analysis of verbal and non-verbal elements that contribute to the films’ poetics. Data processing techniques are then applied to interpret the findings. The study uncovers both similarities and differences in the approaches of the two filmmakers to incorporating poetic material into their works. It concludes that the integration of poetic texts into films serves as a mechanism for eliciting a unique psycho-emotional response from viewers, facilitating their engagement with the filmmaker’s ideological concepts.

The object of investigation is a systematic comparison between Marc Richir’s phenomenology of affectivity and Andrei Tarkovsky’s conception of film as a living image of time, illustrated by the work “Stalker”. The idea of “archaic” or “elementary” affectivity serves as a tertium comparationis. Such a philosophical and aesthetic reflection opens the possibility of examining and reconfiguring the architectural status of classical ideas of philosophy. Both theorists treat the opposition of immanence and transcendence in a way that subverts the basic metahphysical position of ego, world and God and replaces it with a thinking of threshold, transition, or transposition. In the light of Richir, the structure of the “zone” can be read as a hyperbolic phenomenon. Only amid its simulacra and instabilities does humanity emerge as an enigma, i.e. as the self-reflexivity of a self-evolving sense of formation. This reflexivity is phenomenalized, according to our further thesis, on this side of the distinction between thinking and feeling. The essay is an attempt to contribute to phenomenological aesthetics. By means of a constellation analysis, general architectural isomorphies and coherences of both approaches are highlighted in a first approach.

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The article is devoted to the work of the famous Japanese film director Hamaguchi Ryūsuke — a representative of the new generation of Japanese cinematographers. He is the winner of many prestigious awards of the international film festivals in Locarno, Cannes, etc. His film Drive My Car received the prize of the American Film Academy, Oscar — 2022, as the best foreign film. The film is unusual and interesting in many of its features, which are described in detail in this paper. But, first of all, the author draws attention to the fact that the plot of this picture is based on the eponymous story by the popular Japanese novelist Murakami Haruki. At the same time, the director borrowed a lot from the play “Uncle Vanya”, written by Russian classic A. P. Chekhov, whose influence is quite evident in all the director’s recent works. Another key figure who determined the main vector of creativity of Hamaguchi is Andrei Tarkovsky. The Japanese director owes his acquaintance with Tarkovsky’s films to his teacher — a master of modern Japanese cinema Kurosawa Kiyoshi. Thus, the Russian theme is one of the most interesting aspects of his work. At the same time, the author seeks to analyze in details other literary and cinematic origins of Hamaguchi’s directorial career and comes to the conclusion that his work is a complex but harmonious synthesis of Western and Japanese culture with the latter’s pronounced national traditions.

En su libro The Cinematic Footprint (2012), la teórica de los estudios sobre el cine Nadia Bozak propone un análisis de la producción cinematográfica basado en su relación con los consumos y los recursos naturales de los que ésta depende. Desde este punto de vista, este artículo parte de tres escenas de la filmografía del realizador ruso Andrei Tarkovsky para examinar, desde las condiciones materiales de su producción, un campo de interacciones entre imagen y transformación del paisaje más allá de la representación. El trabajo de Tarkovsky es entonces analizado en este texto desde el marco de las relaciones trabadas a lo largo del siglo XX entre imagen, extractivismo y crecimiento vegetal. En particular, los planos examinados son puestos en relación con programas de colonización agraria, agricultura de precisión y técnicas de reforestación como el bombardeo de semillas. El contraste entre la naturaleza extractivista de la mediación por la imagen en estos casos y el carácter de "práctica de cine vegetal" con el que ha sido descrito el cine de Tarkovsky (Uhlin 2015) invitan a rearticular la diferencia entre imagen y crecimiento vegetal en términos de los llamados "medios elementales" introducidos durante la última década en el ámbito de la teoría de los medios.

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The conversation between Alexey Golubev, the editor-in-chief of the CSDF Museum website, and the film director Dina Musatova took place in November 2018. Dina (Vladilena) Mikhailovna Musatova is a theatre actress and documentary filmmaker. In 1954, she enrolled into the directing faculty of VGIK (Mikhail Romm’s class), from which she graduated in 1960. Musatova’s fellow students at VGIK were A. Tarkovsky, I. Raush-Tarkovskaya, V. Shukshin, Yu. Fait, A. Mitta, V. Kitaisky, A. Gordon. Between 1960 and 1991, she was a director at the Central Documentary Film Studio (CSDF). In 1966, Dina Musatova made the documentary film The Three Andreys (CSDF, director of photography Alexander Kochetkov). This film was about the creation of the film Andrey Rublev and the creative search of its main authors — Andrey Tarkovsky and Andrey Konchalovsky. The film was not released for the general public. It was first shown at the beginning of perestroika in the Cinema House during a retrospective show of Andrey Tarkovsky’s films. Many of the shots from this film which depict the outstanding director have become canonical today.

This article covers the ontologico-theoretical groundwork of Andrei Tarkovsky's film Solaris, articulating the meanings behind the assignment of specific states of being. Following – and ultimately, upending – the philosophical questions of Martin Heidegger, the article analyzes the shifts present in the characters of the film, as their respective existences reside under differentiated statuses. In addition, the author brings about a new term, furthering Heidegger's ideas on the nonhuman, called the ohne-Lebenden, which predicates an intermediary space between dasein and thing as a being that exhibits a questioning about its own existence, yet is solely in the grasp of the ontological Being that dictates it. The article weaves through these Heideggerian concepts, bringing in examples from Tarkovsky's film to elucidate the main question: what does it mean to "have life" as a human being? [ABSTRACT FROM AUTHOR]

The article explores the category of interdiscursivity from a perspective of its realization in films. As a point of departure, the historical ties of the avant-garde and cinema are ana­lyzed in terms of interdiscursivity. Literary and artistic works of the representatives of the Russian avant-garde are characterized by a number of innovations that are relevant for the understanding of the interdiscursivity in cinematography as art. The established avant-garde foundations of interdiscursivity make it possible to define it as a linguocreative appropriation of discourses and to elaborate a methodology of its study in films. The film “Stalker” is select­ed as an object of research due to the fact that Andrey Tarkovsky’s innovative cinematic ap­proach makes his works akin to the approaches of art innovators of the avant-garde epoch. The specificity of the interdiscursivity of “Stalker” is determined both by a significant degree of transformation of its literary basis and by a varied appropriation of certain types of discourse in the process of making a film as an original artistic-aesthetic object. Elements of different types of discourse act as linguistic and creative means that influence the heuristic potential of the verbal system of a film.

This publication introduces into scholarly discourse a letter from the outstanding Russian director Andrey Tarkovsky to Iosif Manevich (1907–1976), the then editor-in-chief of Mosfilm and lecturer at the Gerasimov Institute of Cinematography (VGIK). In his letter, Tarkovsky asks for assistance in promoting the script of Bagrat Oganesyan, who was an intern on the set of the film Andrei Rublev. The material allows us to more accurately determine the place of artistic intelligentsia in the film process and the realities of film production in the USSR in the 1970s.

Solaris, de Tarkovsky, converte a ficção científica de Stanislaw Lem em um drama trágico: um problema da consciência, mas um dilema também da ação. Se há um anti-herói dramático, Kris Kelvin, há também uma heroína trágica, Hary, e ambos são formas antagônicas e complementares de uma mesma consciência. Alguns efeitos se desdobram de tal hipótese, na ordem sucessiva da experiência do estranho: o pavor, a sedução e a familiaridade na relação com o duplo. Mas há um grau superior no caráter fantástico dessa história: a autonomia da mulher duplicada, seu discurso e sua decisão no desfecho, atitudes a partir das quais é possível fazer uma interpretação feminista do filme. O discurso de Hary representa uma crítica da condição histórica e existencial da mulher, e Hary, em contrapartida, encarna o drama de uma subjetividade inautêntica, conforme o pensamento de Simone de Beauvoir.

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The article analyzes the fundamentals of the moral philosophy of Andrei Tarkovsky, a unique Russian film director, thinker, and art theorist whose films are recognized as masterpieces of screen culture along with the works of M. Antonioni, I. Bergman, L. Buñuel, L. Visconti, A. Kurosawa, F. Truffaut, F. Fellini, S. Eisenstein, and others. The subject under study is the concept of self-sacrifice in the works of Tarkovsky as a distinctive “code” of his spiritual heritage. Creating his own original artistic world, Tarkovsky dwelled upon such vital philosophical categories as “life and death”, “faith and faithlessness”, “man’s spiritual existence”, “problems of conscience”, “self-sacrifice”, etc. This is evidenced not only by his screen works, but also by archives, diaries, and theoretical works, based on which the author provides an interpretation of the philosophy of Andrei Tarkovsky’s work focusing on the concept of self-sacrifice and the specifics of its artistic interpretation. [ABSTRACT FROM AUTHOR]

Cinema is one of the most pervasive media for the expression and conveyance of concepts and meanings to the audience. Tarkovsky's movies, meanwhile, are a deep visual representation of his intellectual and emotional surges. In general, Tarkovsky's views and filmmaking are full of symbolic and poetic concepts. Reflecting upon his works, it can be inferred that the four elements have a special place in his movies. Our research question is: what does the symbol of water as one of the elements of nature mean in Tarkovsky's works? The present study aimed at the symbolic expression of water in the works of Andrei Tarkovsky and developing a new concept in the mind of the audience. In line with this study, we can mention the most relevant sources, such as a book entitled "The Restored Hope of Tarkovsky's Cinema" by "Babak Ahmadi" in 2005. This book is a combination of Tarkovsky's book and newer perspectives regarding a review of Andrei Tarkovsky's cinema. Another source that can be referred to is a book entitles "Psychological Analysis of Time and Immortality in Tarkovsky's Cinema and Art, Literature and Mindset" by "Mohammad Sanati" in 2002. In this book, the first discussion has dealt with the art and literature of mentality from modernity to postmodernism from different aspects. Thereafter, in the section of time and immortality in Tarkovsky's cinema, the author discussed his subject under seven titles.

In the course of a psychoanalytic psychotherapy of a five-year-old girl with cerebral palsy and profound developmental delay, there came a time when my reverie experiences often included memories of Tarkovsky's autobiographical cinematic free-verse Mirror. These reverie experiences became forms in which I was able to contain the patient's state of nothingness associated with her undifferentiated state, and to recognise her urgent need for mirroring of her very existence. In response to these reveries, I came to think of Winnicott's ideas on mirroring. I propose the idea that birth can be understood as a trope of the most primordial sense of mirroring, created by the link with a subjective object. I describe the ways in which failures in the caregiver's reverie hamper the infant's psychological birth, which relies on good-enough mirroring for him to experience himself in the caregiver's responses to him. When this fails, what emerges is a chimeric ghost-self, a self merged with the caregiver's trauma or loss. This chimeric ghost is a product of the distortions in the reflected image. The infant will not be able to be born as himself until he can differentiate from the ghost. In order to avoid identification with the ghost, the nature of the parental trauma needs to be understood by patient and therapist, each helping the other in this transformative experience. [ABSTRACT FROM AUTHOR]

Introduction Cinema constitutes an artistic presentation of the spectrum of human emotions and offers a number of examples of artistic vision of posttraumatic stress disorder (PTSD). Cinema of the Russian director, Andriei Tarkovsky, alludes to the complexity of human psycho through poetic narration and cinematography. Particularly, Tarkovsky makes reference to such topics as trauma, depression, melancholy, and madness. Objectives The aim of this study is to analyze Tarkovsky’s film “Ivan’s Childhood” from the perspective of psychiatry and psychology with the special attention to the topic of PTSD. Methods We identified elements of trauma and PTSD in line with the Diagnostic and Statistical Manual of Mental Disorders (DSM-5). Furthermore, we analyzed manifestations of trauma in “Ivan’s Childhood” according to the trauma complex in Jungian perspective. Results The main protagonist of the movie, Ivan, is treated as an archetype of a person exposed to trauma. The traumatic circumstance is the war in which he lost his loved ones. “Ivan’s Childhood” is a poetic presentation of this boy’s struggling to overcome his fears and his personal fight for dignity. Tarkovsky accomplishes it through a series of poetic images in which the director demonstrates flashbacks from Ivan’s life. Based on comparisons to Jung’s model of generic complexes, it is possible to define Ivan’s trauma complex as a set of psychological processes that are archaic and typical, i.e., “archetypal.” Conclusions “Ivan’s Childhood” is a moving portrait of a destroyed childhood and subsequent trauma as well as coping mechanisms such as rebellion, alienation, and transference.

This video essay explores Tarkovsky's 1979 sci-fi classic, Stalker, through the lens of the philosophical concept of hauntology. Hauntology refers to the potential for dead or dying ideals to return and haunt the cultural ethos of subsequent generations. This essay intersperses scenes from the film with Soviet-era propaganda footage to highlight the visual discord between Stalker's post-apocalyptic, alternate reality, and the illusory, utopian future the USSR failed to manifest. By melding the two forms of media together, the essay draws a causal line from past to future, and from aspiration to intergenerational trauma. [ABSTRACT FROM AUTHOR]

No abstract available.

As we know, the European-American Western civilization and authority has started to form with the Greek civilization, and strengthened itself through the advent of monotheistic religions. After the Renaissance era and industrial revolutions, the transition from feudalism to industrialization and then to capitalism, made Europe a center of the world. Yet, today, the center has been shifted to the line of Europe-America. In the art of painting, the concept of apocalypse is as old as the first paintings that depict the narrations about human existence. Yet, we can see this concept in an intensified way in the film arts. Finding its inspiration from the social world we live in, film art has been deeply affected by the social class struggles, income inequality, cold war period followed by two major wars, and environmental disasters. By analyzing examples from the history of art and directors from film arts (such as Tarkovsky, Iñárritu, Lars von Trier, and Nuri Bilge Ceylan) who use metaphorical sceneries in dystopian /utopian contents, this article will focus on decoding the signification of the concept of apocalypse throughout the history of humanity.

Andrei Tarkovsky's film Stalker is often understood as both a cinematic masterpiece and an impenetrable mystery. The source text, Arkady and Boris Strugatsky's novel, Roadside Picnic, provides clues to interpretation as well as insights into the evolution of motifs from book to screenplay. By subjecting the texts to a critical reading inspired by Alain Badiou's philosophy of the event – itself considered enigmatic – this article elucidates novel, film, and philosophy, connecting such shared themes as desire, fidelity, militancy, and truth. [ABSTRACT FROM AUTHOR]

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Filmmaker, poet and visual artist Stefan Chazbijewicz seeks to establish a mystic space in his artwork, a domain of salvaged reality, or, as he puts it, a semiotic representation of what we are after salvation. Here we present three of Chazbijewicz' recent visual artworks together with a text that introduces his approach. The three images, “apres-nous,” “Greece, Athens,” and “The Question of Acropolis” are all recent works, employing a variety of techniques and references to collectively suggest a path, a series of perspectives, and an aesthetic programme.

Alterity is questioned within three Russian films which are about genetic mutation and the coming of a new era for Humanity: Tarkovsky's Stalker, Lopuchanski's The Ugly Swans and Iufit's Bipedalism. Stalker defends the idea that a spiritual renewal is necessary to save the world through a mutant girl possessing paranormal capacities. The Ugly Swans adds that mutation should not be considered as pathological, and thus must be accepted with trust in its spiritual power. Nevertheless, Bipedalism recalls that attempts to create a new human being, made in the 1920's-1930's in the USSR, have proved to lead to dead ends and human disasters. The comparison between those three films leads to a temporal point of view about alterity which challenges the more conventional spatial conception of it. [ABSTRACT FROM AUTHOR]

Cinema and psychology are two disciplines which try to understand and make sense of what is human. While cinema, in the process of creating a meaning, emerges as a fiction and a documentary, psychology's output is the theories. While other artistic areas have created works with the same motivation, the coverage and power of cinematic works have always been more in amount. That is because cinema transforms its subject into a narrative, and sends its message effectively to the masses. The history of cinema is filled with works of art that express many phenomena, concepts, situations, or theories related to psychology. Relation between cinema and psychology is bi-directional; psychology uses cinema as an instrument for a didactic purpose in order to be able to explain a concept or phenomenon by exemplifying the individual concerned, as a psychotherapeutic element for the treatment of a number of psychological problems, but also as a tool for itself in empirical studies designed to test certain theories. This bilateral relationship is clearly seen in films, where the symbolic narrative is dominant. Tarkovsky is at the forefront of directors, who make the best use of symbolic narration in cinema history. Tarkovsky's The Mirror -one of his early works- contains symbolic narrative much more than the director's other films do. The Mirror offers a rich content when it is considered from the perspective of various psychological schools and concepts. In this paper, Tarkovsky's The Mirror was examined and analyzed in terms of memory types, characteristics and processes in psychology via document analysis research method, and related samples of the sequences were given. [ABSTRACT FROM AUTHOR]

The aim of this article is to contribute to a cultivation of receptivity and responsiveness towards the emotional dimension of an environment. This article was developed around artistic reflections on oneiric childhood places, dense with vulnerable shared memories, and feelings layered through time. Poem-cinematic image entwinement in Tarkovsky’s Mirror was the cinematographic autobiography that offered a conceptual and methodological guideline for the author’s own excavations and re-creations of embodied memories and emotional experiences. This was achieved through a cycle of poem-drawings. The article also discusses how poetic profusion between verbal and visual representations of the built surrounding can develop into a personal language that allows the communication and integration of emotional experiences in spatial interpretations. [ABSTRACT FROM AUTHOR]

This article undertakes an ecocritical revaluation of the cinematic time-image through a consideration of Andrei Tarkovsky's concept of time-pressure developed in his book Sculpting in Time. Responding to Adrian Ivakhov's proposal for a film theory capable of redeeming the perceptual continuum of the human and the other-than-human threatened by ecological catastrophe, the article proposes a revaluation of the material reality of the film-world of Tarkovsky's film Solaris insofar as it makes real connections with nature as a complex whole, through the dissipating potentials of entropy. Drawing on Tarkovsky's ideas and filmic practice, I define time-pressure as an image of time traversing its own becoming, forming a naturalistic time-image in a becoming-whole that includes an image of the whole opening to the Beyond: the absolute otherness beyond the frame. In contrast to Gilles Deleuze's asynthetic time-image (Cinema 1, Cinema 2), which remains cut off from real connections, Tarkovsky's naturalistic time-image is able to account for real connections as a revaluation of cinematic perception shifting from anthropocinematic to ecocinematic seeing. [ABSTRACT FROM AUTHOR]

This article explores how the main characters in Tarkovsky's movies Stalker and Sacrifice exhibit the Christian ideals of agape. With the New Testament, agape acquired metaphysical primacy and distinctive meaning as it came to be identified as originating from God and portraying a sacrificial act exemplified by the crucifixion of Jesus. Hence, agape necessarily entailed strong altruistic ethos and passionate commitment for the well being of others. Besides demonstrating the way in which Tarkovsky's main heroes in Stalker and Sacrifice exhibit the ideals of agape while each going through their own unique "hero's journey", the article also seeks to unravel how Tarkovsky's philosophy of love goes beyond mere "religious obstructionism". Although Zizek argues that Tarkovsky's ultimate message and solution to the ills of human existence is "religious obstructionism; that of self-sacrifice", Tarkovsky's philosophy of love provides much more complex and profound picture by entailing mystical characteristic and spiritual depth. Indeed, if one removes its metaphysical dimension, Tarkovsky's philosophy of love may even align with the secular tempered existentialist and humanist tradition. [ABSTRACT FROM AUTHOR]

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The article questions the essential link between the art of Victoria Poleva and Andrei Tarkovsky. Both artists are given unique in their mutual difference. Both sound and image Poleva Tarkovsky happens in a certain body and space immanence and materiality that opens us to the other. It is an architecture of space (the profane becomes sacred) and a sculpture of time (eternity at the moment). We believe in sound materiality of Poleva we can find this beautiful work of sculpting time peculiar to the Russian filmmaker. Poleva is the architect and sculpture of sound and its sound opens reality. And sometimes it enables us to give a space the same time for each of us. Hence this article inquires into the matter and spacetime as fundamental elements to it own this minimalist contemporary sacred art. And for this they will serve certain fundamental categories of contemporary philosophers; for example, Nietzsche, Heidegger, Deleuze etc. With these concepts can express the art of our artists. [ABSTRACT FROM AUTHOR]

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