Part 10 Over time, we become strangers to ourselves in Polaroids. We take them, not to create memories, but to help retain them. Sometimes this is unnecessary. At other times, it is essential if we want to remember moments in our lives. This is an idea realised perfectly in Christopher Nolan’s debut feature, Memento (2000). It is a film that essentially sits on the cusp … Continue reading Presence, or Polaroid Ghosts (Part 11)
Some directors are very natural auteurs. Their films always seemingly a product of their own conception which seems unavoidable to visually mistake. Viewing all of Andrei Tarkovsky’s films, this is perhaps clearer to see than in the case of most other directors. His distinctive visual style, which morphs into several similar variations, is instantly recognisable. Dripping with faded lights, distinct textures and elemental forces, his … Continue reading Andrei Tarkovsky – Polaroids, Mementos and Time
Tarkovsky after The Soviet Union “The Artist exists because the world is not perfect” – Tarkovsky in interview. When considering what makes a cinema officially national, what elements are really being held to account? No matter what is said, there will always be anomalous results that mean certain visuals, techniques and scores don’t actually define a national cinema but are simply used by it. Perhaps … Continue reading How Historical And Cultural Dynamics Shaped The Work of Andrei Tarkovsky (Part 2-Nostalghia).
Celluloid Wicker Man 