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Hauntology, Ruins, and the Failure of the Future in Andrei Tarkovsky's Stalker

Hauntology, Ruins, and the Failure of the Future in Andrei Tarkovsky's Stalker Hauntology, Ruins, and the Failure of the Future in Andrei Tarkovsky’s Stalker john a. riley th i s a r ti cl e pr o p o s e s th at a it has occasionally been criticized: Tarkovsky h a u nt o l o g i c a l a ppr o a ch to the study scholar Robert Bird dealt with this overreli­ of Andrei Tarkovsky’s Stalker (1979) can ance on “the intentional fallacy,” arguing deepen our understanding of the issues that scholars should focus on the “manifest that the film raises. My broader contention discontinuities” in Tarkovsky’s work instead of is that each of Tarkovsky’s films invites a “incorporating them within the hermetic conti­ thorough hauntological consideration. Here, nuities of an allegorical narrative” (Bird, “Gaz­ however, I will use Stalker as a case study. ing into Time”). However, since Bird’s work in I will explain how the film, traditionally 2003, scholars have done little to attend to understood as an allegory about faith, is these discontinuities and ambiguities, which not only a cinematic representation of the permeate Tarkovsky’s cinema. Hauntology, failure of the promised Soviet future to with its focus on spectral traces and uncanny http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Hauntology, Ruins, and the Failure of the Future in Andrei Tarkovsky's Stalker

Riley, John A.
Journal of Film and Video , Volume 69 (1) – Apr 16, 2017
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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Hauntology, Ruins, and the Failure of the Future in Andrei Tarkovsky’s Stalker john a. riley th i s a r ti cl e pr o p o s e s th at a it has occasionally been criticized: Tarkovsky h a u nt o l o g i c a l a ppr o a ch to the study scholar Robert Bird dealt with this overreli­ of Andrei Tarkovsky’s Stalker (1979) can ance on “the intentional fallacy,” arguing deepen our understanding of the issues that scholars should focus on the “manifest that the film raises. My broader contention discontinuities” in Tarkovsky’s work instead of is that each of Tarkovsky’s films invites a “incorporating them within the hermetic conti­ thorough hauntological consideration. Here, nuities of an allegorical narrative” (Bird, “Gaz­ however, I will use Stalker as a case study. ing into Time”). However, since Bird’s work in I will explain how the film, traditionally 2003, scholars have done little to attend to understood as an allegory about faith, is these discontinuities and ambiguities, which not only a cinematic representation of the permeate Tarkovsky’s cinema. Hauntology, failure of the promised Soviet future to with its focus on spectral traces and uncanny

Journal

Journal of Film and Video – University of Illinois Press

Published: Apr 16, 2017

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