(39”). Andrei falls into a dream state, longingly recalling his wife at home in Russia, as she suddenly awakens there and speaks to him. Now, the camera pans quickly leftward to reveal a bright, blurred image with a myriad of red, orange, and yellow hues and the image of a doorway with penetrating blue color streaming in from its edges. 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. The Mirror. The camera stares at the woman who stays immobile for a time; and then she looks right when the sound of rattling is heard. A straight cut back to the boy sleeping in his bed (similar to shot 15). by David George Menard Dialogue and audiovisuals are combined to convey daydreams and time-memories about the past, present and future. Documentary realism, boom shadow and all. Deleuze, Gilles. Tarkovsky’s original idea was that Stalker should be shot near the city of Isfara, in the desert region of Soviet central Asia. Strangely, as it pans another child, a slightly older boy with dark hair and wearing a fur collar overcoat, it moves out of the shadows and screen left. C’est donc sur les terres de Bergman (qui n’aimait guère Le Sacrifice) qu’il vient tourner… avec des collaborateurs réguliers du maître suédois. A straight cut to two young boys in long shot, laying stretched out in a hammock and facing each other. Trans. She is viewed in front of a mid-ground row of trees that hide a clearing, probably another portion of the field, that separates the forest background in the distance. New York: McGraw-Hill, 2001. (36”), 8. Andrei Arsenyevich Tarkovsky was a Soviet and Russian filmmaker, theatre director, writer, and film theorist. It is the combination of the long take and the unusual mobility of the camera that pulls out the time-pressure from this shot. 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. Especially, in the case of the films of auteur Andrei Tarkovsky, when those areas uncharted happen to be both the spark and the prelude to the things of the past and to the things of the impending future. So he began a new career in filmmaking, attending the Mel Hoppenheim School of Cinema in Montreal, graduating with a MFA in film production in 2010. As the analysis will demonstrate, Tarkovsky does so in basically two ways, one by the continuous movement of the camera through space and the other by not controlling the viewer’s attention by cutting from one image to the next; all of which emphasizes the temporal nature of reality. Tarkovsky sets up the story in a dacha specifically to evoke/recreate the time-memory elements of his childhood. (27”), 11. He is the patriarch of the contemporary Soviet “poetic film.” Tarkovsky strongly opposed montage and believed that the basis of art cinema (film art) is the internal rhythm of the shot. (22”) The shot cuts. Et entre la sympathique vacuité de Victor, son ami qui s’apprête à fonder une clinique (un matérialiste, donc, dans la logique du film) en Australie (pays se caractérisant par une absence revendiquée d’Histoire), et sa vie de reclus, le spectateur est bien en peine de décider qui vraiment se fourvoie. The image has switched to black and white. A straight cut to the woman with blonde hair in medium close-up follows. The camera frames her in medium close-up as it moves slightly forward closer to her image, then a person (the old woman’s) right hand comes up from the bottom of the screen and rubs the surface of the image of the old woman (her image reflected in a Mirror) in a counterclockwise movement. Essays   Oxford and New York: Oxford University Press, 1998, 58 – 66. Ed. She is nearly bareheaded with very little hair and has a shawl over her shoulders that she holds with her right hand crossed over her chest and touching her heart region. (18”), 10. Initially, the poem continues to be spoken until there is a sound of rattling, at which time the poetry stops. The sixth scene and the last one of real interest in the scene/shot breakdown (shots: 21 – 22) breaks the standard belief in the idea of editing, that is, the linkage of identifiable shots into a scene (Hitchcock and others have used such a device before Mirror). Ce faisant, Alexander a renoncé au monde (auquel nous n’avons pas accès seul, mais dans une communauté de culture), il s’est insularisé. 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. “ Formalism and Neo-Formalism.” In The Oxford Guide to Film Studies. The eerie, celestial, symphonic musical hum bridges the gap between these two shots. The ceiling is falling from the dacha’s sky, crashing in pieces onto the floor. A straight cut to the man in very long shot at the edge of the field (similar to shot 4). “Tarkovsky.” In Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev. Andrei Tarkovsky, 1966 V iewers and critics always have their personal favourites, but some films achieve a masterpiece status that becomes … John Hill and Pamela Church Gibson. Rejecting the common practice of his time, Andrei Tarkovsky challenged the composer Edward Artemiev to create unprecedented sound design for his films in the place of conventional musical soundtracks. The fourth scene (shots: 16 – 18) is crucial to the narrative push because it brings to mind the chronotopes of the dream-memories that seems to take place inside the dacha but differ from the color memory-images that appear in the previous scene. New York and Oxford, England: Oxford University Press, 1992. (16”), 4. SCENE 5: INTERIOR – TIME OF DAY UNKNOWN – DACHA: 19. It is the attention to this kind of editing detail that gives Mirror its feeling of being real, even though, the film is not realism because it is effectively a mental construct, made by re-constructing nature into a memory-scape. Il y a chez Tarkovski la conviction (présente aussi chez Bergman) que la capacité à créer une collectivité juste, une société acceptable, passe par la possibilité de réaliser le bonheur dans un cadre conjugal, familial. The color of her face glows with a golden yellow light. La suite, le sacrifice final, justifie à lui seul ce film dont nous ne savons nous-mêmes pour le reste quoi penser exactement. Unfortunately, circa 1990, the Soviet Union collapsed and many scientists lost their jobs. It is where the flow of time is most directly perceived. Elle est celle qui, la guerre faisant rage au dehors, voudra, par perversité, réveiller Petit Garçon qui dort, donnant ainsi lieu au premier sacrifice du film : la bonne qui s’interpose, et déclare être prête à subir elle-même un châtiment pour qu’on ne vole pas à un enfant son dernier moment d’innocence. En réalisant une utopie que l’on n’ose même pas rêver (celle d’une classe dominante renonçant d’elle-même à ses privilèges), il se fait paria, dans un sacrifice quasi-christique, mais qui a tout d’un échec. Restivo, Angelo. David went to work for Martin Marietta Missiles Systems, the Electro-Optics Division, in Orlando Florida. Pour Tarkovski, il ne peut y avoir de salut face à la capacité d’autodestruction de l’homme et de la planète qu’indique sa dernière guerre, de maturité humaine que dans un monde peuplé d’êtres humains qui, face à la catastrophe, pensent à la vie de leurs proches avant la leur. En 1972, Andrei Tarkovski sort du tournage de Solaris. Tarkovski doute encore et il laissera après sa disparition trop rapide le soin à d’autres qui n'ont pas compris son refus du "cinéma poétique" de faire à sa place "du Tarkovski" (nous serons forts, nous ne citerons pas Carlos Reygadas…). Trans. Daniel J. Goulding. Time Within Time: The Diaries 1970 – 1986. A straight cut to the exterior of the dacha at night looking into a wooded brush area. The third scene (shots: 12 – 15) is also important because it enters into the childhood home. 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. Tarkovsky gives us a taste of the different flavors of memory that time carries along in the film. Moreover, it is filmed in a documentary style and viewed on a television screen by an adolescent boy. Totaro, Donato. Johnson, Vida T. and Graham PEtrie. No. Home Home. (7”), 9. A straight cut to Maria (same as in shot 19) in medium shot, holding her hands on top of her wet hair as she is moving screen left. 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. Inger Pehrsson, Création des décors : It also Mirror_s the pure recollections associated with Alexei’s past, and especially, the involuntary recollections and virtual memories of his childhood dreams and fantasies. Filippa Franzén, Montage : In effect, the habitual forms of actual memory are intermixed with the much large set of virtual memories which comprises almost everything else that someone can think and/or dream about. Tarkovsky did this by reconstructing the country house where he grew up, a beautiful wooden cottage located adjacent to a field of buckwheat, as well as using old photographs, visual recollections, etc. Pays : 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. He is widely considered one of the greatest and most influential directors in the history of Russian and world cinema. Add your article. Tarkovsky achieves a sense of temporal unity through the confusion between ontological states, an inseparable feeling of being in a here-and-now simultaneously with a there-and-then, in short, a sense of not being so much in the present but more in the past. Pourquoi Papa ? A straight cut back to the man in very long shot in the field is made as he walks away. Translated by Hugh Tomlinson and Barbara Habberjam. Hey everybody! The shadowy images (both optical and sound) of the bedroom where the little boy (young Alexei) sleeps are flattened without much depth, but as opposed to the room of the dacha in the last scene, it is richly decorated and cluttered; and the sounds are displaced to the interior planes of consciousness, creating a strange feeling of dislocation that occurs in dreams. Mirror reflects an apprehension of childhood and its memory-image_s which coexist with the narrator’s (Alexei => Tarkovsky) present state of mind and real situation. Zorkaya, Neya. He claimed that Russians are fatally attached to their roots, and Nostalgia (1983) echoed his predicament. Il l’émeut, puis l’effraie en lui révélant ses pulsions suicidaires, elle se dénude, prend le vieil homme comme un enfant. London & Boston: Faber and Faber, 1989. Her hair is blond like yellow straw. Tarkovsky's talent and skills were beyond words. A straight cut to a long shot of a woman psychologist who is using hypnosis on a eenage boy to cure him of a severe stuttering problem. A straight cut back to the man in long shot is made as he makes his way to the edge of the field. The faint cries of kittens are heard intermixed with the rattling sound. Dempsey, Michael. Hitchcock, Welles, Ford, Kurosawa, and others in the cinematic pantheon have inspired an academic avalanche, a cottage industry in analysis and interpretation. Tarkovsky found the pressure exerted by the state on his ability to create so taxing that after going to Italy to shoot a film, he never returned. She turns her head toward the camera and directly stares into the lens for about two seconds. He is sleeping. A straight cut to a black screen with white lettering giving the film’s title – ‘The Looking Glass’ (5”). Moreover, this unique cinematic presentation appears to suppress (as in the case of the stuttering teenager) any psychoanalytical interpretation in favor of the actual experience of this oneiric mood. La panique les prend, la mère est prise d’hystérie, ne contient plus sa rage alors que dehors il tonne. (Risque existant toujours, si l’on en croit l’avancée annuelle de l’horloge atomique). “Into the Breach: Between the Movement-Image and the time-image.” In The Brain is the Screen: Deleuze and the Philosophy of Cinema. 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. Mast, Gerald, Marshall Cohen, and Leo Braudy. His films are poetic, hypnotic, ethereal, and profoundly philosophical. Sixth Edition. William Powell and Natasha Synessios. The Sacrifice, a 1986 film by Andrei Tarkovsky Sacrifice (2000 film) , a 2000 TV movie directed by Mark L. Lester The Sacrifice (2005 film) , an independent film The camera now captures them in a two-shot, as they brush themselves off. 33 – 35. London & New York: Faber and Faber, 1999. Le projet transcendant d'Andrei Tarkovski s’accomplit dans une impasse sociale. Tarkovsky, Andrei. Mirror is a mood film at heart. On peut admirer le brio de Tarkovski à les mettre en scène dans une langue (le suédois) qui n’est pas la sienne. 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. Bordwell, David and Kristin Thompson. My name is Yuri Zhary.” (20”), 2. Alexander, vêtu d’une robe de chambre surmontée du Yin et du Yang (nous avons appris par ses proches qu’il est, comme Tarkovski, un fervent asianophile), revient dans la maison vide, enclenche une musique sacrée asiatique sur son installation audio, remplit la pièce centrale des meubles de la maison, y met le feu, dans l’esprit d’un sage zen renonçant au confort, à la façon aussi d’un autel de l’Ancien Testament. The camera continues its movement past her, coming to a Mirror which reflects the woman’s image in virtual left profile (actual right profile). 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 temporal disruptions result from the mélange of personal histories and time-memory elements that maintain the time-pressure differential between shots, sometimes moving into flashbacks and sometimes into dreams. It is the intrinsic connection that links the temporal and spatial relationships presented in the film whose polyphonic nature is expressed in the last sequence where the blending of space and time occurs as the past merges with the present, expressing the indivisible unity of time. The camera pans slowly to the right, rack focuses to some bushes where green leaves and branches rustle in the wind. Tarkovski dédie par un carton le film à son fils laissé en Russie (que, selon son souhait, il reverra bientôt), « avec espoir et confiance ». Andrei Tarkovsky is not an exception – like Eisenstein, he has become an icon of Russian filmmaking. In Mirror, the interpenetration of present realities (circa 1975) with past memories (1930s and mid-40s) creates a perplexity about the juxtaposition of non-chronological fragments, stressing the indivisibility of time and the infinite possibility of a perception that journeys beyond the borders of the screen. Alexander doit éprouver sa propre capacité à désirer le bien. It is the door entrance of the dacha reflected in an old Mirror. Calcutta: Seagull Books, 1991. The camera continues to move left and track right as it passes to the right of a ladder positioned screen left, as we hear the sound of dripping water and see a gentle rain. The mysterious sounds of a ship’s bell and a flute or blowing air pass the open tip of a bottle are intermixed with the crashing of ceiling chunks that look like pieces of bright, white ice. 7 Andrei Tarkovsky Films and Their Philosophical Takeaways. After a moment, we see that there are two little children both with heads shaven, one who is spooning a substance (probably milk) out of the bowl, the other who is fooling around by pouring either a white powder (probably flour) on top of the cat’s head. (Il est certes hautement discutable que le film demande des comptes de ce sacrifice à la mère en particulier, et non à sa fille ou à son mari. Get free, customized ideas to outsmart competitors and take your search marketing results to the next level with Alexa's Site Overview tool. (1’28”). The camera moves to the right and away from the kids to a point halfway across the room where a woman is standing up alone in the corner. “The Nostalgia of the Stalker.” Sight & Sound. Find, Reach, and Convert Your Audience. A l’occasion de son anniversaire, sa fille, un ami de la famille et Otto, le facteur de l’île (Allan Edwall) les retrouvent dans la spacieuse demeure du couple. This article analyzes the audio-visual sequences of Tarkovsky’s films from the 1970s and the 1980s, exploring transitions from real mode to … Son travail de facteur ne lui sert qu’à financer des excursions servant à rencontrer des personnes qui ont été témoins de phénomènes inexplicables. 22. She comes back to speak to the children who are seated at a table: “It’s a fire, but don’t shout.” As the children get up there is a cut on action to a reverse angle of the table. Andrei Tarkovsky is the most celebrated filmmaker of the 1960’s, 70’s and 80’s (until his death in Paris on Dec. 29, 1986). 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. With associative films rich in imagery, such as Andrei Rublev (1966), Solaris (1972), The Mirror (1974) and especially Stalker (1979), Andrei Tarkovsky (1932‒1986) made his name as a leading innovator of the language of cinema. 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. 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.”. The “dacha” is the predominant chronotope of Mirror. 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. It is a virtual reality where space and time are discontinuous and matter (fire, wind, water) moves with a graceful force (time-thrust). Sven Nykvist, Scénario : Petric, Vlada. 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