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Posts Tagged ‘Tarkovsky’

My upcoming talk at the University of Toronto’s Munk School of Global Affairs comes from the East European strand of my research. The talk will be called “Becoming Tuteishyi: Peregrinations in the Zona of Ukraine, with Walter, Gloria, Andrei, Bruno, and Other Explorers.” The description reads as follows: Drawing on the author’s research and travels, […]

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Teaching my film course (especially in its current rendition as “Ecology Film Philosophy”) and the book that goes with it (Ecologies of the Moving Image, which will be publicly available in July) — and especially teaching the Andrei Tarkovsky film Stalker, which serves as a sort of template for the book — makes me feel […]

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The new issue of Film-Philosophy is out, and it includes my article “The Anthrobiogeomorphic Machine: Stalking the Zone of Cinema.” The abstract is below. The first half of the article is an early version of the paper I gave at the recent Moving Environments conference, which encompassed material from the first two chapters of my […]

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Here’s a version of something that comes late in Chapter One of my Ecologies of the Moving Image manuscript. This follows a description of Andrei Tarkovsky’s film Stalker (USSR, 1979), which I take as a kind of paradigmatic model for the process-relational framework the book develops. Here I discuss the film in its relationship to […]

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I was going to post something to mark the 25th anniversary of the Chernobyl nuclear accident, but Sarah Phillips has already posted something so good, saying many of the things I would have wanted to say, that I will simply link to her article at Somatosphere and add some personal notes of my own. The […]

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Gilles Deleuze’s cinema books make for difficult reading, and if one is to make headway into them, it helps not only to know something about Bergsonian philosophy, Piercian semiotics, and the history of film, but also to have clips at hand of the films Deleuze discusses. Fortunately, Corry Shores has been very helpfully compiling such clips, with excerpts from the books, at his Deleuze Cinema Project 1 blog site. [. . .]

As an art form of time, cinema can help us arrive at a more adequate understanding of the nature of time. If Deleuze is correct and the production and dissemination of a “direct” image of time within cinema expands our capacity to conceive of our own and the world’s temporality — or, rather, expands our capacities for ethically inhabiting time, for thinking, feeling, and affectively being with others, for generating productive syntheses in the differential fabric of the world, for becoming — then moving-image media hold great potential for our ability to understand and visualize the relationship between the world and ourselves in our common nature as time, duration, becoming, and change. [. . .]

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