ANDREI TARKOVSKI AS CULTURAL RESOURCE: CONSTRUCTING A PROTO-STORY

Annotation

The extensive literature on Andrei Tarkovsky, both domestic and foreign, can be conditionally divided into several categories of studies, those that: 1. address the biography of the director, 2. reveal the history of creation and reception of individual films, 3. address the problems of Tarkovsky’s cinematography, 4. claim to create a concept of the director’s work, and 5. comprehend the cinematic language of Tarkovsky’s films. The forms and manner of Western directors’ reference to Tarkovsky are diverse, from the overlap at the level of visual images and frame composition to correspondences at the conceptual level and coincidence of worldview positions. As a result, Tarkovsky appears as a cultural resource for film theorists and practitioners. It seems that in a number of cases when filmmakers refer to Tarkovsky, intertextual connections are determined by the presence of a certain “proto-plot” in the films they create. One of these “proto- plots” presupposes a certain perception of the surrounding social reality, which is characterized by what Gilles Deleuze and Félix Guattari called “deterritorialization”, the oscillation between nostalgia and solastalgia, creating an “atmosphere”, in the terminology of G. Böhme, as well as the character- relocant in the literal and metaphorical sense. This “proto-plot”, or “proto- sphere”, sets a certain tone when the director turns to other elements of Tarkovsky’s film style. The work of Christopher Nolan is considered as an example.

Keywords

Andrei Tarkovsky as a cultural resource, intertextuality, proto-plot, deterritorialization, solastalgia, aesthetics of atmospheres, film stylistics, Christopher Nolan

Literature

1. Albrecht, G. A. (2019). Earth Emotions: New Words for a New World. Ithaca and
London: Cornell University Press. 256 p. (In English).
2. Andrej Tarkovskij: Klassiker — Классик — Classic — Classico: Beiträge zum
internationalen Tarkovskij- Symposium an der Universität Potsdam. Norbert, P. F. (Hrsg.). Band
1. Potsdam, Universitä tsverlag Potsdam, 2016. 313 s. (In English, German, Russian, Italian).
3. Andrej Tarkovskij: Klassiker — Классик — Classic — Classico: Beiträge zum
internationalen Tarkovskij- Symposium an der Universität Potsdam. Norbert, P. F. (Hrsg.). Band
2. Potsdam, Universitä tsverlag Potsdam, 2016. 366 s. (In English, German, Russian, Italian).
4. Bird, R. (2004). Andrei Rublev. London: British Film Institute. 87 p. (In English).
5. Bird, R. (2008). Andrei Tarkovsky: Elements of Cinema. London: Reaktion Books.
256 p. (In English).
6. Bird, R. The Omens: Tarkovsky, Sacrifice, Cancer. In: Apparatus. Film, Media and
Digital Cultures in Central and Eastern Europe. 2020. No. 10. DOI: https://dx.doi.org/10.17892/
app.2020.00010.225 (In English).
7. Bö hme, G. (2018). The Aesthetics of Atmospheres. Ed. By Jean- Paul Thibaud. New
York: Routledge. 230 p. (In English).
8. Ebiri, B. An Action Movie About Scientists Talking. Christopher Nolan’s Oppenheimer
plays out across the landscapes of Los Alamos and Cillian Murphy’s face // Vulture. March 10,
2024. URL: https://www.vulture.com/article/oppenheimer- christopher-nolan- cillian-murphybehind-the-scenes.html (accessed: 22.09.2024) (In English).
9. Guattari, F.; Deleuze, G. (1972). Capitalisme et schizophrénie, tome 1: L’Anti- Œdipe.
Paris: Editions de Minuit. 494 s. (In French).
10. Said, E. (2000). Intellectual Exile: Expatriates and Marginals // The Edward Said
Reader. Ed. by Moustafa Bayoumi and Andrew Rubin. New York: Vintage Books. P. 368–381.
(In English).
11. Schrader, P. (2018). Transcendental Style in Film: Ozu, Bresson, Dreyer. Oakland,
CA: University of California Press. 230 p. (In English).

Исследование выполнено за счет гранта Российского научного фонда No 24–28–
01588, https://rscf.ru/project/24–28–01588/; Русская христианская гуманитарная академия
им. Ф. М. Достоевского