The Cinema of Tarkovsky: Labyrinths of Space and Time (KINO - The Russian and Soviet Cinema)

In This Book, Nariman Skakov Explores The Phenomenon Of Spatio-temporal Lapse In Tarkovsky's Cinema - From Ivan's Childhood (1962) To Sacrifice (1986). He Argues That Dreams, Visions, Mirages, Memories, Revelations, Reveries, And Delusions Are Phenomena Which Present Alternative Spatio-temporal Patterns; They Disrupt The Linear Progression Of Events And Create Narrative Discontinuity. Each Chapter Is Dedicated To The Discussion Of One Of Tarkovsky's Seven Feature Films And, In Each, One Of These Phenomena Functions As A Refrain. Skakov Discusses The Influence Of The Flow Of And Lapses In Space And Time On The Viewer's Perception Of The Tarkovskian Cinematic Universe. He Opens And Closes His Original And Fascinating Book On Tarkovsky's Cinema By Focusing On The Phenomenon Of Time That Was Discussed Extensively By The Filmmaker In His Main Theoretical Treatise Sculpting In Time, As Well As In A Number Of Interviews And Public Lectures. On Space(s) And Time(s) -- Dreams Of Ivan's Childhood -- Visions Of Andrei Rublev -- Phantasies Of Solaris -- Memories Of Mirror -- Revelations Of Stalker -- Recollections Of Nostalghia -- Illusions Of Sacrifice -- Postscript. Nariman Skakov. Includes Bibliographical References (pages 249-259) And Index. Includes Filmography (pages 241-248). The phenomenon of time was a central preoccupation of Tarkovsky throughout his career. His films present visions of time by temporal means - that is, in time. Tarkovsky does not represent time through coherent argument, Nariman Skakov proposes, rather he presents it and the viewer experiences the argument. This book explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from Ivan's Childhood (1962) to Sacrifice (1986). Dreams, visions, mirages, memories, revelations, reveries and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and in each, one of these phenomena functions as a refrain. Skakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that is discussed extensively by the filmmaker in his main theoretical treatise Sculpting in Time, as well as in a number of interviews and public lectures.