Résumés
Abstract
Articulating a materialist conception of rhythm and temporality in the medium of film, this paper seeks to explore the way in which Andrei Tarkovsky’s Mirror (1975) is constituted by the alternation of explosions and implosions of historical time-images. The author makes a detailed analysis of several sequences of the film in order to lend support to the central argument: that spectators are taken “out of time” through an anamorphic experience of death in the material contact transmitted by a spectral dimension of history and memory. This argument allows political considerations regarding the mediation of social memory and mourning and also epistemological considerations regarding the critique of traditional historiography and the literary bias of narrative storytelling.
Résumé
Sur la base d’une conception matérialiste du rythme et de la temporalité du cinéma, cet article s’attache à explorer la manière dont le film Le Miroir (Andrei Tarkovsky, 1975) est constitué par l’alternance d’explosions et d’implosions d’images-temps historiques. L’auteur fait une analyse détaillée de plusieurs séquences du film, afin d’étayer une thèse principale selon laquelle les spectateurs sont conduits « hors du temps » à travers une expérience anamorphique de la mort transmise par un contact matériel avec une dimension spectrale de l’histoire et de la mémoire. Cette thèse permet des considérations d’ordre politique concernant le travail social de la mémoire et du deuil, et des considérations d’ordre épistémologique concernant la critique de l’historiographie traditionnelle et la tendance littéraire de toute activité narrative.
Parties annexes
References
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- Mirror (1975)Director: Andrey Tarkovsky. Production Company: Mosfilm, Unit 4. Producer: E. Vaisberg. Production Manager: Y. Kushnerov. Assistant Directors: Larissa Tarkovskaya, V. Karchenko, Masha Chugonova. Script: Andrei Tarkovsky, Alexandre Misharin. Photography: Georgy Rerberg, Sovcolor with b/w newsreel sequences. Camera Operator: A. Nikolayev, I. Shtanko. Lighting: V. Gusev. Editor: Lyudmila Feiginova. Art Director: Nikolai Dvigubsky. Sets: A. Merkunov. Special Effects: Y. Potapov. Music: Eduard Artemyev, J.S. Bach, Giovanni Batista Pergolesi, Henry Purcell. Costumes: Nelly Formina. Make-up: V. Rudina. Sound: Simon Litivinov. Poems: Arseny Tarkovsky, read by the poet. Leading Players: Margarita Terekhova (Masha, Alexei’s mother/Natalia, Alexei’s wife), Filip Yankovsky (Alexei, age 5), Ignat Daniltsev (Alexei/Ignat, age 12), Oleg Yankovsky (Alexei’s father), Nikolai Grinko (male colleague at printing shop), Alla Demidova (Lisa), Yrui Nazarov (military instructor), Anatoly Solonitsyn (doctor passing by), Innokentky Smoktunovsky (voice of Alexei, the narrator), Larissa Tarkovsky (rich doctor’s wife), Maria Tarkovskaya (Alexei’s mother as an old woman), Tamara Ogorodnikova (woman in Pushkin-reading scene), Y. Sventikov, T. Reshetnikova, E. del Bosque, L. Correcher A. Gutierres, D. Garcia, T. Pames, Teresa des Bosque, Tamara des Bosque.Length: 106 minutes.
10.7202/024839ar