Written By: Polina Olhovska (33661919)

Andrei Tarkovsky, Soviet filmmaker, known for his poetic cinematography and unique approach to space and time. Through “sculpturing time,” Tarkovsky creates metaphysical dimensions, prioritising emotional depth. William Brown’s analysis of spatial reality in digital cinema examines how digital tools transforms the relationship between cinema and space, particularly through the creation of “any-space-whatever,” a concept drawn from Gilles Deleuze. Comparing Brown’s theories to Tarkovsky’s analog techniques reveals how Tarkovsky achieves spatial abstraction without digital effects, offering alternative ways to construct spatial reality.

Tarkovsky’s Stalker (1979) is a good example. The Zone—a mystical, forbidden space containing the Room, where desires are fulfilled. Tarkovsky, however, refrains from showing the Room at all. Instead, he evokes its metaphysical presence indirectly, relying on mood, naturalistic imagery, and the audience’s imagination. In digital cinema, as Brown suggests, such spaces might be constructed with CGI to illustrate their mystical nature. Tarkovsky, however, achieves an “any-space-whatever” through naturalistic imagery, long takes, and minimal editing, transforming real locations into universal, ambiguous settings.

In the first scene from The Zone – The Stalker, Writer, and Professor arrive and disembark from the railway cart. As the Stalker steps away, a three-minute-long take focuses on a dialogue between the Writer and the Professor. The camera moves only slightly, maintaining continuity and immersing the viewer in the scene. This sustained shot creates an emotional and contemplative space, where the stillness of the camera mirrors the characters’ introspection. The deliberate pace allows natural sounds and the environment to “breathe,” fostering a meditative quality that emphasises the Zone’s metaphysical nature. Throughout the film, this metaphysical space is consistently depicted, with a persistent emphasis on exploring the subconscious.

In contrast to digital cinema’s reliance on synthetic tools, Tarkovsky’s Stalker preserves a tactile connection to physical reality. His analog methods—long takes, slow pacing, and natural soundscapes—craft spaces that transcend their physicality, immersing viewers in a contemplative experience. Tarkovsky’s work demonstrates that metaphysical and emotional resonance can be achieved without digital manipulation, creating timeless spaces that linger in the mind.

Bibliography:

Brown, William, ‘Digital Cinema’s Conquest of Space’ SuperCinema: Film-Philosophy for the Digital Age (Oxford: Berghahn, 2013).

Stalker. (1979). Andrei Tarkovsky: Soviet Union: distributed by Goskino.

Тарковский. Телевидение Латвийской ССР. Tarkovsky interview (english subtitles). (1979) Available at: https://www.youtube.com/watch?v=T7RtQzzvwNQ.