A Study of Diegesis and Mimesis in Andrei Tarkovsky’s Stalker (1979) – with reference to Time and the Frame.
This essay endeavour’s to discuss the formal elements in the filmic construction of Stalker, a film directed by Andrei Tarkovsky. In analysing the film aesthetic of Stalker, an attempt is made to demonstrate the importance of how art is positioned in relation to the viewer, illustrating Tarkovsky’s relevance to contemporary art practice. The objective of this essay is to discuss the application of diegesis and mimesis in Stalker through an analysis of the films construction with reference to time and the frame. Tarkovsky’s cinema goes beyond the mimetic representation of reality where the viewer simply witnesses an image on screen. Tarkovsky wants to imitate life itself by extending time beyond the frame allowing the viewer to become immersed in the diegesis. Tarkovsky promotes viewer involvement through architectural framing, camera positioning, and sound. In Stalker, framing, colour and sound collaborate to inform the films mise-en-scene and develop its diegesis. Tarkovsky explores alternative realities through filmic means and investigates the boundaries that exist within perceived space. Today it is relevant to reference the changes that take place in the way art is viewed. The positioning of the viewer in relation to the artwork is changing, it is no longer reasonable to accept that art is viewed from a fixed position. Art has to be considered in relation to the architecture it is positioned in. Art today expands beyond the frame where the viewer can move around an installation, interact with a piece of work encouraging a ‘lived experience’ thus expanding the diegetic space.