Production Pit :: Essays Papers

Production controvert Zizek wants to know of Tarkovsky, Does his cinematic materialism effectively provide the adequate intent correlative for his narrative of spiritual quest and sacrifice, or does it secretly de-escalate his narrative? (254). He looks to Tarkovskys writings, which he takes as Russian obscurantist spiritual mysticism, but ignores the answers already present in Tarkovskys film. The basic projectile he considers is a questioning of the relationship between two stipulation elements of the film, its narrative theme (which Zizek takes as an overall gnosticism, along the theological lines that spiritualty demands moving up and away from the body) and its textured visual/aural corporeality (which is Zizeks consideration of the dirt, blending of nature and civilization, and overgrown made world). To critically reassess this acrobatic relation between a filmic quality and a narrative one, I bequeath consider the sole scene and prospect of production in action that late scene in The campana of plain heavy production. If this scene shows anything, it is production becoming more than a process of manufacture, but always a partially concealed blackened setting with ambiguities of depth and direction. The white smoke that seems present in so many scenes in the film passes through and obscures the thoroughly planned and understood processes that are absolutely crucial to the formation of the Princes bell. Water drops downward just behind the mastermind of the project, and as Boriska walks right and up he passes the Russian workhorse of a man that seems the muscle of such industrial efforts. A mighty-chested man whose face is obscured by the bowl of water he pours into himself serves not only the Prince of the plot, but as a metonymy for the brute civic engineering that surrounds the decorative/religious world of monastic painters. Just as Tarkovskys landscapes are populated with humans, as if just another plant or animal on the horizon, the background, coming in and out of focus as the image ponders losing its inertia into the workings of the furnace, the sparks, the bellows, and the molten metal that has been riches and will be the bell. Even synthesizer music becomes appropriate, with Andreis shoulders and head stand above it all. What we make of these gentle waves of the monastically introverted experience the film tries to hold by as isnt interesting.