By Liu Ch., Yang Z.
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R. Tiedemann and H. Schweppenhluser (Frankfurt: Suhrkamp, 1982), 354. 21. Michel Esteve, "Stalker" in Esprit 2, Feb. 1982. " There are certainly numerous reasons for this rapprochement, and one of the most pertinent ones is that Sokurov achieves; like Tarkovsky, the creation of dreams within the art of cinema. " In Sokurov's films, the dreamlike ontological condition tends to be described as a "scape" linked to the metaphor of painting. " One could draw a daring parallel. Does it not look a little as if WiilMin's old distinction between the "linear" and "painterly" style would here be reanimated, this time in the domain of cinema, Tarkovsky being the linear Diirer and Sokurov the painterly Rembrandt?
See Ivanov, 1985,291. 16. "The Rhetoric of the Image" in Roland Barthes, The Responsibility of Forms. (Oxford: Blackwell, 1986), 38. 17. "Toward a Theory of Cine-Genres," in Eagle, 137. 18. Yuri Lotrnan, Universe of the Mind (London and New York: Tauris, 1970), 146ff. 19. Gerard Genette, Figures 11 (Paris: Seuil, 1969), 152. 20. L'Energie spirituelle (Paris: Alcan, 1922), 157. 2 1. Gaston Bachelard, L 'Eau et les rives (Paris: Corti, 1942), 32. 22. Maurice Pinguet, "L'Ecriture de r&e dans un comet a des" in Revue des lettres modernes Nr.
2 A typical reflex seems to make people ask, whenever they are confronted with a dream which does not take place within the safe ontological limits provided "by their own sleep," about the "who" of the dreamer. A-dream needs a dreamer in order to be dreamt in the same way in which a novel needs a writer in order to be written. As long as a dream takes place within the intimacy of our own mind we can be sure that it is we who are dreaming. Already in a novel, things are more complex. In internal monologues of modem literature the "I" can be overlaid with other narrating sources making the identification of a narrating "I" difficult.