13. Memory and Trace

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Figures vii
4. Notes on Contributors ix
5. Introduction: Refocus on Tarkovsky 1
6. Part I. Backgrounds
7. Introduction to Part I 11
8. 1. Tarkovsky’s Childhood: Between Trauma and Myth 15
9. 2. Trava-Travlya-Trata: Tarkovsky’s Psychobiography à la Lettre 30
10. 3. Does Tarkovsky Have a Film Theory? 46
11. Part II. Film Method
12. Introduction to Part II 65
13. 4. The Child’s Eye View of War in Ivan’s Childhood 69
14. 5. The Truth of Direct Observation: Andrei Rublev and the Documentary Style of Soviet Cinema in the 1960s 85
15. 6. Temporality and the Long Take in Stalker 102
16. 7. Framing Infinity in Tarkovsky’s Nostalghia 119
17. 8. Approaching the Irreal: Realistic Sound Design in Andrei Tarkovsky’s Films 135
18. Part III. Theoretical Approaches
19. Introduction to Part III 151
20. 9. Andrei Tarkovsky, Or the Thing from Inner Space 155
21. 10. Wounds of the Past: Andrei Tarkovsky and the Melancholic Imagination 178
22. 1 1. The Flesh of Time: Solaris and the Chiasmic Image 195
23. 12. Cinema as Spiritual Exercise: Tarkovsky and Hadot 209
24. 13. Memory and Trace 225
25. Part IV. Legacy
26. Introduction to Part IV 239
27. 14. Zvyagintsev and Tarkovsky: Influence, Depersonalization, and Autonomy 242
28. 15. Von Trier and Tarkovsky: From Antithesis to Counter-sublime 257
29. Index 275