Dreams in Andrei Tarkovski’s “Mirror”

The Dreamlike Pictures of Andrei Tarkovsky’s Films

The dreamlike pictures of the habitat that is seen in the films of Andrei Tarkovsky contain a figurative sense and mirror the change of the mindful and the subliminal universe of the writer. He is famous for metaphorical dialect, philosophical communication, mysterious representation and the merge between the slanted and the intention. One of the films of Tarkovsky is Mirror where he illustrates his perceptions of the responsibilities of uncertainty in fine art. Through the art people takes over the fact via a prejudiced experience and that artistic discovery appears every moment as a novel and different picture of the universe which is considered to be a symbol of complete truth.

The Merge between Reality and Imagination

It happens as a exposure or as a brief and passionate desire to grab instinctively and to stroke all the regulations of the universe, its benefits and disadvantages, its sympathy and cruelty and its limitations. By the use of the image, there is sustainability and alertness of the uncertainty, the eternal inside of the limited and the spiritual inside of the matter. Rather than presenting us uncomplicated imagery of the history, Tarkovsky is giving us the memory of the characters such that the facts and delusion are always linked to each other.

Dream States and Memories in Tarkovsky’s Films

There are different ways through which dream states register at the level of image and sound, for example, in the childhood of Ivan as presented in the reminiscence of domicile which involves the dream regarding a stilted house which explains the realism of conflict (Petric 28). The dissimilarity of vision and authenticity are very aching and are intolerable to the kid. The champion basically does not have a home and this is a very significant representation of the hero who was appearing in the movie as a rude young man in wet teases. Thoughts of Ivan are the condition where for a period of time not recall about the atrocious certainty of violence and gathers the other reality which is considered peaceful. The dreams of Ivan mirrors the dream of the author whose life was also affected by how harsh authenticity of the conflict was. The reminiscences of Ivan are mainly linked with torture and the passing away of the mother who died while he was watching and they are the dreams of the lost child who returned. He assumes that his dreams are not fake, full and are very charming as compared to the unkind truth that most likely appears as repetitive nightmare. Some past experiences have been converted into dreams such that there is a normal childhood that majorly tops in a wicked manner. All these dreams were explained personally by Tarkovsky.

The Transformation of Childhood Memories

He said that all the dreams which were four are founded on alliances such that the initial reverie is considered to be one of the initial memories of his upbringing. It was also his first associated with the universe when he was only 4 years old. This memory was later own changed into a prominent attempt which was the bronzed countenance of a young boy who was paying attention to the stillness of soaring pine foliage alongside the backdrops of a white spider web. The camera was going up on the hierarchy stalk between the branches. On the other hand, the camera move toward him and confine the condition of tranquillity and complimentary spirit.

The Symbolism of Homelessness and Childhood

While filming the video there was a confrontation about the desire to movie thoughts which resulted in different questions. Suddenly, Tarkovsky deduced a thought of a unconstructive picture in another dream. He stated that in our brain, the stare of the sun blaze back via the hoary foliage and a shining rain flowed. Therefore, the lightning flash indicates the technical probability of transforming from negative to positive. A musical view of the movie stresses on the hole amid the chronological events and the current events which include the instance of babyhood and the occasion of war respectively. This separation is connected with the sadistic demise of the mother of Ivan. The figure of the home of Ivan is not very typical in the other movies as he sought to stress that the youngster does not have a home. The homelessness and the childhood of Ivan mirror the cruel logic war. The visual images shown during the childhood of Ivan has used all the poetic techniques for free.

The Reflections of Time and Memory

The idea of movie is changing its rhythm which ignores the almanac time that abandons the sequence of flashbacks of people which drawing the route of the main plans of an individual. This comprehension of occasion will identify the principle of “Mirror” where Tarkovsky was also focusing on the subject of thoughts and the young star hero. Possibly, “The Mirror” is one of the most mystifying and intimate films by Tarkovsky because in this film he focuses on the memoirs of the past times. However, the ideology of this films did not transform into a lamenting narration of a departed period but rather formed a vital link between childhood periods and adulthood time. There were different images used such as the wooden house which was very old that one could mistake it for Tarkovsky’s dacha was an important aspect of the film (Botz-Bornstein 29). The picture of the abode is closely linked to the sub awareness of the writer himself and the hero.

The Significance of Home in Tarkovsky’s Films

The thoughtfulness of domicile in reminiscence permits every personality a psychological flee from facts but it is by no means very simple to consider what had happened in the history. The maker of the film was focusing on creating an atmosphere of their babyhood memoirs by attempting to perfectly communicate his thoughts to the readers. A log house of this hero in his childhood particularly when the “The Mirror” movie was starting and the reminiscence of the mother who was washing the face of his child as of the glowing is restored by a large city apartment that has high ceilings and a sluggish trip of the camera particularly in the hall pathways and space that revisit the observer to the current time. The house of Tarkovsky was reconstructed in the facet and it contained furnishings and present is a very significant pictures in the whole video.

The Symbolism of the Wooden House

The episode in “The Mirror” was very important as they reflect on the fate of an individual in the era of technological progress, the fate of our universe, concerning the traditional ethical values in the current time. Some of these traditional human values encompass the ties with the universe, art, and scruples which emblematically represented by the picture of the wooden house (Botz-Bornstein 31). The house of Tarkovsky has been symbolically represented in the “The Mirror” in the worldwide landscape which is also becoming an image of the nostalgic journey via space and time and evoking pictures of lonely individuals on the planet. The dreamlike pictures of the wooden house are also the main image in a film known as Nostalghia which is also one of the best film made by Tarkovsky.

Work Cited

Petric, Vlada. “Tarkovsky’s Dream Imagery.” Film Quarterly (ARCHIVE) 43.2 (1989): 28.

Botz-Bornstein, Thorsten. Films and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick, and Wong Kar-Wai. Lexington Books, 2007.