3. Days of the Eclipse: ‘Adieu, Babylone’; Adieu, Tarkovsky

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Acknowledgements vii
4. Preface ix
5. Introduction: The Fragment and the Infinite, or, the Hypothesis of the Third Term in the Cinema of Alexander Sokurov 1
6. 1. Lonely Voice of Man: Singular Murmurs, Multiple Echoes 26
7. 2. Mournful Insensitivity: The Apocalypse of the Modern 46
8. 3. Days of the Eclipse: ‘Adieu, Babylone’; Adieu, Tarkovsky 59
9. 4. Save and Protect: Of Angels and Flies 80
10. 5. The Second Circle: Winter, Light, and the Intimate Sublime 88
11. 6. The Stone: No Way Home 112
12. 7. Whispering Pages: Death, Nothingness, Memory 119
13. 8. Mother and Son: Time Abolished, Time Transfigured 126
14. 9. Moloch: Adi (and Eve): Fear Eats the Soul 139
15. 10. Taurus: ‘Father, where art thou?’ 156
16. 11. Russian Ark: Imperial Elegy 165
17. 12. Father and Son: Beyond Absolute Intimacy 185
18. 13. The Sun: Iconoclastic Humanism 218
19. 14. Alexandra: The Return to Neverwas and the Ambiguity of Romance 233
20. 15. Faust: Sokurov Waltz 250
21. Postscript. On the Poetics of Space in Sokurov’s Tetralogy (Moloch/Taurus/ The Sun/Faust) 272
22. Conclusion. The (Im)Possibility of an Island 278
23. Postface 285
24. Addendum A: interview with Alexander Sokurov, 2005 288
25. Addendum B: interview with Alexander Sokurov, 2013 301
26. Filmography 316
27. Bibliography 323
28. Index 330