Abstract:This chapter provides a psychoanalytically-inflected analysis of the complex nature of Tarkovsky’s melancholia as the predominant affect in his films, functioning as a poetic critique of the reality principle, eschewing our symbolic separation from the Thing. Engaging with the theories of melancholia developed by Sigmund Freud, Jacques Lacan, and Julia Kristeva, the authors trace its various configurations in Tarkovsky’s last three Soviet films: Solaris (1972) exhibits the melancholic clinging to the impossibl… Show more
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