![]() The film eases the viewer into a state of hypnapompia the long-drawn-out sequences, repetition of shot composition, lack of auditory and visual stimulation, all contribute to this point. Visual language is Tarkovsky’s primary, expository outlet in the film, and whose existence creates a monotonous and patterned transgression of the events that occur all purposeful, matter of fact. Stalker has, very much, a mnemonic structure. ![]() His work is always so structured around, and dependent on, esthetically driven narratives instead of plot-driven ones and that’s no exception for his films. It’s no doubt that Tarkovsky thinks of himself more as an iconographer than he does as a storyteller.
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