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Anonymous
2015-12-21 02:57:44 Post No. 63897901
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Anonymous
2015-12-21 02:57:44
Post No. 63897901
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I think Tarkovsky utilized an aesthetic that can be compared to the poetic movement of Imagism. He certainly disliked the semiotic conceptual approach to visual theory, focusing more on the surface itself - a sentiment shared by his idol Bresson. Only the pictures that were captured and projected were the primary means of expression, without any "deeper" meaning attached to them, and they were rendered with painstakingly minimalist techniques. Thus all that remained on screen, be it the shot of the throbbing temple of the soldier-instructor in The Mirror or the mysterious and exhausting pool crossing in Nostalghia, was the image - pure, poetic and transcendentally powerful.
