Tarkovsky (1986, p.В 179) makes it clear that the degree to which this вЂњlost timeвЂќ is restored and restorative depends a great deal on the dimension of humanity and spirituality in the director who then vicariously shares it, condenses it, and sculpts it in the uncompromisingly affective images of time printed on film. 63, 82-83, 179) allows himself room to comment upon the modern spectatorвЂ™s searching need for вЂњtime lost or spent, or not yet had.вЂќ Each time Tarkovsky implicitly invokes the redemptive power of the cinema as that which compels cinema goers to compensate for the gaps of modern experience. Article body Sculpting Out of TimeДЄt three separate moments in the argument of his book of reflections on the cinema, Sculpting in Time, Tarkovsky (1986, pp. Cette thГЁse permet des considГ©rations dвЂ™ordre politique concernant le travail social de la mГ©moire et du deuil, et des considГ©rations dвЂ™ordre Г©pistГ©mologique concernant la critique de lвЂ™historiographie traditionnelle et la tendance littГ©raire de toute activitГ© narrative. LвЂ™auteur fait une analyse dГ©taillГ©e de plusieurs sГ©quences du film, afin dвЂ™Г©tayer une thГЁse principale selon laquelle les spectateurs sont conduits В«В hors du tempsВ В» Г travers une expГ©rience anamorphique de la mort transmise par un contact matГ©riel avec une dimension spectrale de lвЂ™histoire et de la mГ©moire. Sur la base dвЂ™une conception matГ©rialiste du rythme et de la temporalitГ© du cinГ©ma, cet article sвЂ™attache Г explorer la maniГЁre dont le film Le Miroir (Andrei Tarkovsky, 1975) est constituГ© par lвЂ™alternance dвЂ™explosions et dвЂ™implosions dвЂ™images-temps historiques.

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. 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 вЂњout of timeвЂќ through an anamorphic experience of death in the material contact transmitted by a spectral dimension of history and memory. Articulating a materialist conception of rhythm and temporality in the medium of film, this paper seeks to explore the way in which Andrei TarkovskyвЂ™s Mirror (1975) is constituted by the alternation of explosions and implosions of historical time-images.

Spectre film mirroir