The Bodies in Andrei Tarkovsky’s Images and the Embodied Experience
|關鍵字:||安德烈‧塔可夫斯基;電影現象學;莫里斯‧梅洛龐蒂;活歷身體;吉爾‧德勒茲;Andrei Tarkovksy;Film phenomenology;Maurice Merleau-Ponty;Lived body;Gilles Deleuze|
The study aims to investigate the embodied subjectivity and the unthought-of thought in Russian director Andrei Takovsky’s images through the concept of “the lived body” from film phenomenology as it implicates the embodied source between the film’s body and the spectator’s body. The initial idea is to resist Deleuze, who only sees the crystal-image of the indiscernibility between virtuality and reality in Tarkovsky’s images. This study does not reject Deleuze’s arguments, but clarifies that the modern images that mostly attracted Deleuze were experiences depicting trauma, like wounds, stammering, or muteness. Tarkovsky’s characters also endure great suffering. This study raises the discussion of “the ordinary body” and “the wounded body” to reveal the embodied experiences through banal actions, gestures, wounds, and speech impediments. However, as the narrative progresses, art is disclosed as a remedy to heal the physical disabilities, which makes their bodies no longer ordinary, but mysterious and sacred. Similar to the paradoxical nature within bodies, the situation surrounding the images not only shows the co-existence of virtuality and reality but also represents the unity of humanity and divinity in one person, reflecting the director’s own culture based on Russian Orthodox Christianity. Finally, the heterogeneities are significant to Tarkovsky’s images and are part of the embodied experiences. The study proposes three arguments, “the wandering within the pilgrimage,” “the wound within the remedy,’ and “the dilemma within the rebirth.” These are Tarkovsky’s distinctions, and the proceedings of reconcilement indicate that the narratives are as our life and time spiraling up into a healthy hermeneutic circle.
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