-

Öz

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.

Anahtar Kelimeler

• Modernity, Nostalgia, Andrei Tarkovsky

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

Öz

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

MODERNİTENİN KRİZİ VE TARKOVSKY'NİN NOSTALGHIA VE AYNA FİLMLERİNDEKİ
YANSIMALARI
ÖZ
Bu 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

Kaynakça

1. Benjamin, W. (1968). Illuminations. New York: Schocken Books.
2. Boym, S. (2001). The Future of Nostalgia. New York: Basic Books.
3. Buck-Morss, S. (2000). Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West. Cambridge, Massachusetts: MIT Press.
4. Burns, C. L. (2011). Tarkovsky’s Nostalghia: Refusing Modernity, Re-Envisioning Beauty, Cinema Journal, 50, 104 122.
5. Davis, F. (1978) Yearning for Yesterday: A Sociology of Nostalgia. New York: Free Press.
6. Epstein, M (2013). “The Origins and the Meaning of Russian”, Retrieved January 14, 2013 from http://www.ucis.pitt.edu/nceeer/1993-807-21-2-Epstein.pdf
7. Habermas, J. (1983) Modernity: An Incoplete Project, in Hal Foster (Edited by), Postmodern Culture. London: Pluto Press.
8. Harvey, D. (1992). The Condition of Postmodernity: An Inquiry into the Origins of Cultural Change. Oxford & Massachusetts: Blackwell.

9. Hewison, R. (1987). The Heritage Industry: Britain in a Climate of Decline. London: Methuen Publishing. Hofer, J. ([1688] 1934). Dissertatio Medica de Nostalgia, oder Heimwehe, The Bulettin of the Institute of the History of Medicine 7, 379-91.
10. Horkheimer, M; Adorno, T.W. (2002). Dialectic of Enlightenment. California: Stanford University Press. Hutcheon, L. (2013). Irony, Nostalgia, and the Postmodern, Retrieved January 5, 2013 from http://www.library.utoronto.ca/utel/criticism/hutchinp.html
11. Jameson, F. (1998). The Cultural Turn. London: Verso.
12. Jameson, F. (1991). Postmodernism, or the Cultural Logic of Late Capitalism. Durham: Duke University Press.
13. Jameson, F. (1984). The Politics of Theory: Ideological Positions in the Post Modernism Debate, New German Critique, 33, 53-65.
14. King, P. (2008). Memory and Exile: Time and Place in Tarkovsky’s Mirror, Housing, Theory and Society, 25, 66-78.
15. Legg, S. (2004). [Review of the Books The Future of Nostalgia, Contested Pasts: The Politics of Memory, Regimes of Memory], Cultural Geographies 11, 99-107.
16. Lukacs, G. (1963). The Theory of the Novel; Georg Lukacs, The Meaning of Contemporary Realism. London: Merlin Press.
17. Lyotard, J.F. (1984). The Postmodern Condition: A Report on Knowledge. Manchester: Manchester University Press.
18. Marcuse, H. (2002). One Dimensional Man: Studies in the Ideology of Advanced Industrial Society. London & New York: Routledge.
19. Mitchell, T. (1984). Andrei Tarkovsky and Nostalghia, Film Criticism, 8, 2-11.
20. Orr, J. (2011). Cinema and Modernity. Cambridge: Polity Press.
21. Proust, P. ([1909-1931] 2005). In Search of Lost Time [6 Volumes]. London: Vintage Books.
22. Stites, R. (1989). Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution. Oxford, New York, Toronto: Oxford University Press.
23. Strobinski, J. (1966). The Idea of Nostalgia, Diogenes 54, 81-103.
24. Tarkovsky, A. (1987). Sculpting in Time: Reflections on the Cinema. Austin: University of Texas Press. Volkov, S. (2008). The Magical Chorus: A History of Russian Culture from Tolstoy to Solzhenitsyn. New York: Vintage.
25. Zelechow, B. (2004). Proust: Identity, Time and the Postmodern, The European Legacy, 9, 79-90. Zinchenko, A. V. (2011). Nostalgia: Dialogue Between Memory and Knowing, Journal of Russian and East European Psychology, 49, 84-97.