Att spegla tid och minne: Surrealism i Andrej Tarkovskijs Spegeln

Sammanfattning

This thesis explores the intersection between Andrei Tarkovsky’s cinematic aesthetics and surrealist theory, focusing on his film The Mirror (1975). By analyzing Tarkovsky’s depiction of time and memory, the study investigates how surrealist principles such as non-linear narrative, symbolic imagery, and dream-like sequences are employed to create a deeply introspective cinematic experience. Drawing on theoretical frameworks including André Breton’s Surrealist Manifesto, Gilles Deleuze’s concept of the “crystal image,” and Marcel Proust’s reflections on time and memory, the thesis situates The Mirror within both surrealist and philosophical traditions. Tarkovsky’s work is examined not as a straightforward continuation of surrealism but as a unique artistic vision blending existential and spiritual themes. His films transcend conventional surrealist definitions by reshaping surrealist techniques into personal, poetic expressions of existential inquiry. The analysis highlights how Tarkovsky’s fluid handling of time and fragmented memory evokes a surrealist sensibility, while his spiritual and introspective focus diverges from surrealism's original political and revolutionary agenda. Ultimately, the study concludes that The Mirror functions as a poetic and philosophical exploration of time, memory, and the human condition, redefining surrealist aesthetics in a deeply personal and cinematic form.