MODERNITY CRISIS AND ITS REFLECTIONS IN TARKOVSKY'S NOSTALGHIA AND MIRROR

This article examines the modernity crisis and the phenomenon of nostalgia in the works of the distinctive Russian film director Andrei Tarkovsky's films Nostalghia (1983) and Mirror (1975). Within this perspective this study not only investigates the term, nostalgia, and its typology in the films, but also focuses on the socio-cultural and political refractions in the background that shape the director's use of the concept. Tarkovsky's cinema, particularly his last films, reflects the consequences of modernity crisis. In this regard his films Mirror and Nostalghia play an important role. This paper suggests that the film Nostalghia was made by the director in Italy in order to reveal this crisis in the case of a poet. The film, Nostalghia, removes the frontiers that developed in the Mirror, and puts the phenomenon nostalgia in the centre of the modernity crisis. To analyse the relationships between modernity crisis and Tarkovsky's films, this study grounds its analytic perspectives on the qualitative-descriptive method. In this regard, the study will start with the general characteristics of Tarkovsky's cinema and examine the typology of nostalgia, and then focus on his Nostalghia. After a detailed analysis of Nostalghia within this perspective, the article will compare it to another of his films, the controversial Mirror, to examine the changes in the master's life.Keywords: Modernity, Nostalgia, Andrei TarkovskyMODERNİTENİN KRİZİ VE TARKOVSKY'NİN NOSTALGHIA VE AYNA FİLMLERİNDEKİYANSIMALARIÖZBu makale modernitenin krizi ve nostalji olgusunu ünlü Rus film yönetmeni Andrei Tarkovsky'nin Nostalghia (1983) ve Ayna (1975) filmleri özelinde incelemektedir. Bu çerçevede, çalışma, nostalji kavramını ve onun türlerini söz konusu filmler içerisinde incelemekle yetinmemekte, aynı zamanda, yönetmenin bu kavramı kullanımına şekil veren arka plandaki sosyo-kültürel ve siyasal kırılmaları da incelemektedir. Tarkovsky sineması, özellikle son filmleri, modernite krizininin sonuçlarını yansıtan bir sinemadır. Bundan dolayı onun Nostalghia ve Ayna filmleri ayrı bir öneme sahiptir. Bu çalışma, Nostalghia filminin, Tarkovsky tarafından, modernitenin krizini bir şairin hikayesi özelinde vurgulamak için, özellikle İtalya'da çekildiği tezini ileri sürmektedir. Nostalghia, Ayna'da geliştirilen sınırları kaldırır ve nostalji fenomenini modernitenin krizinin merkezine koyar. Çalışma Tarkovsky filmlerinin modernitenin kriziyle olan ilişkilerini çözümleyebilmek için, analitik perspektiflerini nitel-betimleyici araştırma yöntemini kullanarak geliştirmektedir. Bu çerçevede, çalışma önce nostalji türleri ve Tarkovsky sinemasının genel karakteristik özelliklerini incelemekte, ardından Nostalghia filmine odaklanmaktadır. Nostalghia'nın bu perspektif içerisinde ayrıntılı analizinden sonra makale söz konusu filmi Tarkovsky'nin diğer filmi olan, tartışmalı Ayna filmiyle, bir ustanın kariyerindeki değişimleri incelemek için karşılaştırmaktadır.Anahtar Kelimeler: Modernite, Nostalji, Andrei Tarkovsky

Anahtar Kelimeler:

Modernite, Nostalji, Andrei Tarkovsky

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This article examines the modernity crisis and the phenomenon of nostalgia in the works of the distinctive Russian film director Andrei Tarkovsky’s films Nostalghia (1983) and Mirror (1975). Within this perspective this study not only investigates the term, nostalgia, and its typology in the films, but also focuses on the socio-cultural and political refractions in the background that shape the director’s use of the concept. Tarkovsky’s cinema, particularly his last films, reflects the consequences of modernity crisis. In this regard his films Mirror and Nostalghia play an important role. This paper suggests that the film Nostalghia was made by the director in Italy in order to reveal this crisis in the case of a poet. The film, Nostalghia, removes the frontiers that developed in the Mirror, and puts the phenomenon nostalgia in the centre of the modernity crisis. To analyse the relationships between modernity crisis and Tarkovsky’s films, this study grounds its analytic perspectives on the qualitative-descriptive method. In this regard, the study will start with the general characteristics of Tarkovsky’s cinema and examine the typology of nostalgia, and then focus on his Nostalghia. After a detailed analysis of Nostalghia within this perspective, the article will compare it to another of his films, the controversial Mirror, to examine the changes in the master’s life.

Keywords:

Modernity, Nostalgia, Andrei Tarkovsky,

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