Memory and Being: The Uncanny in the Films of Andrei Tarkovsky

Daniel McFadden


Soviet film maker Andrei Tarkovsky is obsessed with the image of
the home. Throughout his filmic oeuvre, we see Tarkovsky again and again
returning to the space of the home. This paper will examine the status and
importance of the home in Tarkovsky's films Solaris, Nostalghia and
Mirror. Interpretation will be made through Sigmund Freud's concept of the
“uncanny”. The “uncanny” is especially useful as a method for
understanding the highly symbolic and obfuscated dream and memory
sequences that litter Tarkovsky's films. I argue that the home and the
protagonists of these films share a metaphorical relationship; the homes
(as depicted) are visual analogues of the characters' psyches.

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EISSN: 1927-6206
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