Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia. Issue 1 (2nd January 2016)

• Record Type: Journal Article
• Authors: Schmidt, Stefan W.
• Is Part Of: Journal of aesthetics and phenomenology. Volume 3:Issue 1(2016)
• Page Start: 27
• Page End: 41
• Publication Date: 2016-01-02
• Subjects: Andrei Tarkovsky -- memory of place -- nostalgia -- lived body memory -- dwelling; Phenomenology -- Periodicals; Phenomenology and art -- Periodicals; Aesthetics -- Periodicals; Electronic journals; Esthetica; Fenomenologie; Aesthetics; Electronic journals; Phenomenology; Phenomenology and art; Periodicals; 701.17
• DOI: 10.1080/20539320.2016.1187856
• Languages: English
• ISSNs: 2053-9320

Abstract

Abstract: The subject of my paper is to examine nostalgia as "involuntary memory" in Andrei Tarkovsky's movie Nostalghia . Tarkovsky understands filming as "sculpting in time." In his book with the same title he writes that "time and memory merge into each other." In order to understand this we have to distinguish between a voluntary memory, which refers to the intentional effort to remember, and the involuntary memory, which is like a force that comes over us, that affects us. The latter is especially the case with nostalgia. In nostalgia we can find a revision of the past but the revised version of the past is not primarily about the production of a new representation of memory but more a case of re-experiencing the same past through returning to it, particularly in an embodied manner. Nostalgia is a particular mode of "memory of place." Places we inhabit or pass through leave an impact on us, for we are bodily subjects and as such we have a relationship with the places that surround us. What Tarkovsky's movie Nostalghia shows is how the spatio-temporality of the present is "haunted" by the superimposed appearance of the past. Nostalgia is a movement of seeping returns. The past transpires in the present, and Tarkovsky makes this structure visible in using the visual medium of film. He shows how the texture of the everyday world fuses with the imagined memory of the past. In my paper, I construe this nostalgic experience provided by Tarkovsky.