the mirror of time and memory

A detailed Summary of the mirror of time and memory

Live in the house-and the house will stand.

Go into it and build myself a house...

With shoulder blades like timber props

I help up every day that made the past,

With a surveyor's chain I measure time

And traveled through as if across the Urals.

For my blood to go on flowing from age to age.

For a safe place with constant warmth

Were it not that life's flying needle leads me on Through the world like a thread.

The films of Andrey Arsen'evitch Tarkovsky fall into the separate genre of cinematic creations: they are more than drama or psychological thriller, more than philosophical cinema. Although Tarkovsky's work has been deeply influenced with such prominent film directors as Kurosawa, Bunuel or Antonioni, the poetry of his father, Arseniy Tarkovsky, Boris Pasternak and many other Russian poets and writers, his films manage to form something completely unique to the mind of their director, convey a diaphanous psychological message. His cinematography is a celebration, a theatre of "imprinted time," trapped with the skillful techniques of the plot-creating and camera usage of the director. As if in the 'Z

We are back in the sunlit landscape and the dacha of the past, with the young mother and father lying in the grass. "Would you rather have a boy or a girl?" he asks her. She smiles, not answering, then sighs and looks away. Joyful choral music swells on the soundtrack as the camera cuts to the mother as an old woman, followed by the narrator as a little boy. The old woman leads the little girl by the hand as the boy follows, and the young mother is seen, choking back tears and then smiling, as if watching them. The old woman and the two children walk rapidly across a field in long shot; as the boy leaves the frame the young mother is seen standing in the middle of the field looking at her future self, perhaps in deliberate visualization of the Russian proverb: "Living life is not like crossing a field."

one' of his Staler the art of Andrey Tarkovsky freezes the moment, the gasp of time, enclosed into almost sculpture-like solid creation that opens up to the viewer its nostalgic breeze. The time exists, it crystallizes in form of faerie, elfish arabesque figures and characters and yet it evaporates filling the space with a sense of solitude and sorrow for the past.

The film opens with a prologue that shows life footage of a boy being treated from stuttering. In the end of the prologue, the treated patient says, "I can speak now"; the entire essence of Zerkalo as "the remembrances of a man who recalls the most important moments in his life, a man dying and acquiring a conscience. " is presented in this short sequence. This little sequel is symbolic of the authors desire to be able to speak freely of the truth that is being uncovered in front of the narrator's eyes. And as a miraculously cured boy suddenly discovers his ability to talk, the author unveils and admits the truth of his life to himself.

Zerkalo is a clot of life, the images here should not be deciphered: they are to be perceived as they are. "The further a viewer is from the content of a film, the closer he is; what people are looking for in cinema is a continuation of their lives, not a repetition. " It is a dialogue between the past and present in which the narrator uses the memories and experiences of others, as well as his own, to enlarge his personal consciousness and free himself from his st

Some common words found in the essay are:
Russian European, Solaris Nostalgia, Mirror Childhood, Childhood Solaris, Andrey Tarkovsky, , Pasternak Russian, Arsen'evitch Tarkovsky, Proust Tarkovsky, Bunuel Antonioni, life zerkalo, feelings grief, mother seen, dream memory, arseniy tarkovsky, tarkovsky revealed,

Approximate Word count = 1544
Approximate Pages = 6 (250 words per page double spaced)

Category: English