Heather Harmon Brooke What Happened

Tarkovsky - THE NOSTALGIA OF HARMONY

Author : Francesca Pirani Publisher: Hands Microart's , Genova, 2009 Collection: Extralights Pages: 141 Size: 23.5 x 28.5 Price: € 12 Language: Italian

Index: Introduction: his solitude Andrei Rublev - Legacy difficult - The history and the story: what it's about the movie? - History - The story - The reverse perspective and neglect of the reverse Stalker - History - the writer, scientist, the Stalker: three forms of non-existence - The Zone: fantasy world or dream world? - The absence of the reverse: if now there was the void? - The loss of harmony: the woman, the Stalker, the daughter mutant Offret / Sacrifice - History - In the beginning was the Word, a film of ideas and words - uncertainty for doubt: from Alexander to Boriska - The pagan woman, the mutant baby, the Good Witch: results of the female conclusions. time off in the mind: an end announced Filmography Bibliography

Despite Andrei Tarkovsky is known to all of the historiography of the cinema as one of the greatest filmmakers of modernity, we are talking less and less of his work, inexplicably scaled from the recent critical oblivion and overshadowed by an injury that he wants the Russian film director, author of unbearably slow and cuts, in stark anachronism with the vitalistic and accelerated our time, dominated by the bulimic consumption of images of music videos and commercials. This is certainly a movie theater since expanded, marked by a contemplative approach, philosophical, but still remains evocative and semen, given the influence and proximity style Tarkovsky in respect of which retains many of the most talented filmmakers of our time, by Aleksandr Sokurov in Bela Tarr, by Carlos Reygadas to Tsai Ming-Liang, not to mention the homage tributatogli recently by Von Trier with his final Antichrist. A work of only seven feature films in more than twenty years: a few, very few, for a strong and innovative artistic voice, marked by an impressive attention to visual composition, almost painterly, and a chaotic and mysterious symbolism, that just lends itself to harassing sovrainterpretazionismi. Among these films, Francesca Pirani, director and screenwriter graduated from the Experimental Centre of Cinematography, chooses to focus on three of the most famous, Andrej Rublevo (1966), Stalker (1979) and Sacrifice (1986), designated as the vertices of an ideal poetic and philosophical trilogy. All three films in question are in fact analyzed in detail in key scenes and read as allegories dream capable of recalling that reality rather fuzzy in the first months of his life in a subtle interweaving of language and language of the reality of the dream, "eye turned out "and one eye turned inward" the other. On this view, no doubt impressive, lies this brief critical reflection that "nostalgia harmony "identifies the poignant regret for his pure perception and harmonious state newborn, where one is able to enjoy the forms of nature without the psychological and perceptual dell'irregimentazione superstructures of domestication and adult culture. With this essay, although it is burdened with a psychoanalytic subtext at times forced and slightly redundant arguments, prejudices about Tarkovsky out in the open are so fully and ironically reversed: there never was more hypnotic and compelling film of his, turned almost spiritually under more than the brain, able to express in images only the supremacy of the sensitivity on rational thought. Michelangelo Pasini