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    Temporal Defamiliarization and Mise-en-Scène in Tarkovsky’s Stalker

    Temporal Defamiliarization and Mise-en-Scène in Tarkovsky’s Stalker

    Introduction In her article “The Concept of Cinematic Excess,” Kristin Thompson speaks of a dual tendency in film criticism: we could see films as a “struggle of opposing forces,” some…

    Andrei Tarkovsky: Truth Endorsed by Life

    Andrei Tarkovsky: Truth Endorsed by Life

    The Spanish philosopher José Ortega y Gasset has referred to man as a “conscious cosmic phenomenon”. What he meant by this has everything to do with the fact that there…

    The Natural and Modern Worlds in Solaris

    The Natural and Modern Worlds in Solaris

    In Solaris (1972), Andrei Tarkovsky presents a vision of contemporary society as one that has become cut off from nature, and provides a narrative that illustrates the possibility of remaining…

    Ivan’s Childhood: The Tree of Life

    Ivan’s Childhood: The Tree of Life

    In the essay entitled “Nature as ‘Comfort Zone’ in the Films of Andrei Tarkovsky” in the last issue of Offscreen I discussed the unique manner in which Tarkovsky situates nature…

    On Elements of Traditionalist Symbolism in Tarkovsky

    On Elements of Traditionalist Symbolism in Tarkovsky

    The growing impact of Traditionalism in modern Russia is not just due to the fact that a group of Traditionalist-oriented former Soviet dissidents like Alexander Dugin and Geydar Jamal have managed…

    Stalker – Andrei Tarkovsky

    Stalker – Andrei Tarkovsky

    Unlike hefty amount of authors on whom it is relatively easy to debate rationally – meaning, empirically justifies – Tarkovsky is a cineast that does not bear many words, who is…

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