ABSTRACT

A haunting past dominates the work of European filmmakers in the post-war period, and this article addresses the hauntological spectre of war in There Will Be No Leave Today, a very early film of Russian director Andrei Tarkovsky in partnership with Alexander Gordon. The article draws on Jacques Derrida’s Hauntology, Julia Kristeva’s abjection and Gilles Deleuze’s ‘out-of-field’ theory as a methodology to examine ideas of haunting and abjection in Tarkovsky and Gordon’s fledgling film in relation to the interconnection between spaces and their histories in the work. It also makes connections with contemporary cinema in Europe and as such explores Mikhail Kalatozov’s The Cranes are Flying and Alain Resnais’s Hiroshima Mon Amour. I examine how the featured cinematic works compare and contrast with Tarkovsky and Gordon’s own stylistic vision and how the landscape in the films is a space of memory and historical trauma.

摘要

令人难以忘怀的过去在战后时期的欧洲电影制作人的作品中占据主导地位，本文探讨了《今日无休》中战争的幽灵，这是一部由俄罗斯导演安德烈·塔可夫斯基与亚历山大·戈登合作拍摄的非常早期的电影。这篇文章借鉴了雅克德里达的鬼魂论、朱莉娅克里斯蒂娃的落魄和吉尔斯德勒兹的“场外”理论作为一种方法来检查塔可夫斯基和戈登初出茅庐的电影中的困扰和落魄思想与空间及其历史之间的相互联系工作。它还与欧洲的当代电影建立了联系，并因此探索了米哈伊尔·卡拉托佐夫的《鹤在飞翔》和阿兰·雷乃的《广岛之恋》. 我研究了特色电影作品如何与塔可夫斯基和戈登自己的风格视觉进行比较和对比，以及电影中的风景如何成为记忆和历史创伤的空间。