About the main psychological and philosophical aspects detached from the film Solaris directed by Andrei Tarkovski, as well as the cinema techniques used by the director to convey his messages to the spectator. In the "Introduction" I briefly present the relevant elements of Tarkovski's biography and an overview of Stanislav Lem's Solaris novel and the film Solaris directed by Andrei Tarkovsky. In "Cinema Technique" I talk about the specific rhythm of the scenes, the radical movement triggered by Tarkovsky in modern (...) cinema, the role of symbolic and iconic elements, and affinities with the fantastic area of Russian literature. In Psychological Aspects I analyze the issue of communication in a human society of the future considered by Tarkovsky as rigid, the obsession of the house, and the personal evolution of Kris, Hari, and the relationships between them. In Philosophical Aspects, the film is analyzed through the philosophy of the mind (Cartesian dualism, reductionism and functionalism), the problem of personal identity, the theory of heterotopic spaces developed by Michel Foucault, and the semantic interpretations that can be deduced from the film. It also analyzes the issue of personal identity through Locke's philosophy. "Conclusions" show the general ideas of this essay, namely that Man's attempts to classify and maintain forms of interaction with unknown entities will always be condemned to failure and will reflect a major mistake in the panoptic world in which we live. In this framework of analysis of the philosophy of mind, functionalism seems to be the most intuitive. Solaris is, however, a movie that begins as a search for answers and comes to provide these answers with a whole range of different questions. -/- CONTENTS: -/- Abstract Introduction 1 Cinema technique 2 Psychological Aspects 3 Philosophical aspects Conclusions Bibliography Notes -/- DOI: 10.58679/MM59030 , ISBN 978-606-033-225-1. (shrink)

Tarkovski’s film is a drama of pain and partial recovery centered on the psychology of the Solaris station crew. Tarkovski wanted to address this way the deeply emotional and intellectual science-fantastic genre, considered by him to be superficial. The film approaches a central phenomenon of Klaus Holzkamp’s critical-psychological analysis of human perception: the perceptions of the human world are significant to human beings. In perception, human beings are oriented towards an objective sense, which objects possess it in connection with the (...) vital activity of the people. By virtue of this quality, the localization of meanings in objects is exclusively a characteristic of the human world. DOI: 10.13140/RG.2.2.13456.05129. (shrink)

Tarkovsky opposed to the movie editing and considered that the basis of the art of cinematography (movie art) is the internal rhythm of images. He considers cinema as a representation of distinctive currents or time waves, transmitted in the film through its internal rhythm. Rhythm is at the heart of the "poetic film". A rhythm like a movement inside the frame ("sculpting in time"), not as a sequence of images in time. Time within the frame expresses something significant and true (...) that goes beyond the events itself, received differently by each spectator. The rhythm is not determined by the length of the sequences, but by the pressure of time passing through them. DOI: 10.13140/RG.2.2.11136.48642. (shrink)

Tarkovsky a dezvoltat o teorie a cinematografiei pe care a numit-o "sculptarea în timp". Prin aceasta el a vrut să evidențieze caracteristica unică a cinematografiei ca mediu, aceea de aborda experiența noastră despre timp și de a o modifica. Filmul neregulat transcrie timpul în timp real. Folosind filmări lungi și câteva tăieturi în filmele sale, el a urmărit să ofere spectatorilor un sentiment de trecere a timpului, timpul pierdut și relația dintre un moment de timp și altul. El consideră cinematografia (...) ca o reprezentare a curenților distinctivi sau undelor de timp, transmise în film prin ritmul său intern. Ritmul este în centrul "filmului poetic." DOI: 10.13140/RG.2.2.35151.33447. (shrink)

Tarkovsky recognizes these differences, saying that there is a contradiction with Lem's initial idea, because he was interested in the problems of inner life, spiritual problems, so to speak, and Lem was interested in the collision between man and Cosmos. In an ontological sense of the word, in the sense of the problem of knowing and the limits of this knowledge - it is about that. Lem even said that mankind was in danger, that there was a crisis of knowledge (...) when man did not feels ... This crisis is growing, a snowball, takes the form of various human tragedies, including scientists. (shrink)

Filmul lui Tarkovski este o "dramă a durerii și a redresării parțiale" concentrată asupra psihologiei echipajului stației de pe Solaris. Tarkovski a dorit astfel să abordeze mai profund emoțional și intelectual genul științifico-fantastic, considerat de el ca fiind superficial. Filmul tratează un fenomen central al analizei critice-psihologice a lui Klaus Holzkamp asupra percepției umane: condițiile de percepție a lumii umane sunt semnificative pentru ființele umane. Este este o specie complexă noetică - o specie cu proprietatea gândirii, care a evoluat în (...) condiții complet diferite de ale noastre. DOI: 10.13140/RG.2.2.23737.01120. (shrink)