Tarkovskys Cinema Essay - 1026 Words

Tarkovskys Cinema To begin, Tarkovsky’s cinema is not about historical realism or exposing the everyday as it really is. Cinema is unavoidably an especially paranoid representation of experience. Sculpture hewn in time resembles everyday events no more than wood sculpture does stumps. What makes Tarkovsky interesting might be gotten at in terms of doors and windows. Dalle Vacche[1] approaches the array of moments and differences in the style: Tarkovsky’s refusal to attach these faces to a situation, to a decision, or to an exchange of looks with another character makes these anonymous and minor figures especially elusive. Yet their impact is undeniably strong. It is as if the viewer’s mind, unable to read the characters’ eyes,†¦show more content†¦Like Florensky’s[3] idea of reverse perspective in Russian iconic painting, here the level of reality of the Archimedean point of perspective flips from earthly to spiritual. It makes us dreamers. Renaissance painting subordinates every scene to the single eye with all light converging at this single point, but Florensky sees the reverse of this convergence in icons. Multiple sides are visible and the perspective of the painting does not overwhelm that which is seen. Andrei Rublev is, in this way, not such a work of art. If usual film is paranoid experience because, unlike day to day life where the connection between one experience and another depends mostly on faiths in your self, all moments are meaningful and relative, Tarkovsky may reverse this. In film, all gestures, characters and textures ultimately link back together in ways it is yours to discover. In ‘life’, the significance of all the parts, worry not, will happen to you. Looking into Andrei Rublev is such a wasted moment of voyeurism that the transaction is less about vision going out the window than what drifts back in. Lives and times are no longer packaged in the comfortable ‘realistic’ perspectives that conventions such as third person narrative strive to maintain. â€Å"The activity of looking through windows †¦ implies a viewer in a situation of safety, who can dominate the world outside, without giving up control of private space† (DalleShow MoreRelatedThe Cult Of The Second World War Fo r The Soviet Union1269 Words   |  6 Pageseven the homefront itself, as was the tendency of other nations’ films. The devastation of the Eastern Front was simply too enormous for ‘cheery Stalinist propaganda’ to hide, and Soviet audiences acutely aware of its demoralising reality. Soviet cinema of this era therefore most often focused on the exploits of the heroic partisan in occupied territory. Accordingly, one of the most iconic Soviet films of the wartime years was Friedrich Ermler’s She Defends the Motherland (1943). Tremendously popular