Stalker (Tarkovsky)
example · film: Stalker ·
retold in 4 talks
Praises Tarkovsky's film for depicting nature reclaiming industrial ruins, finding the sacred in the 'filth of this earth' rather than looking up to heaven.
≤2000talks it is told in, per year2026
As told 3
“His experience of the sacred is you are down on earth, you put your head in muddy water, as if the sacred is in the filth of this, in the filth of this earth.”
“In Stalker, how the guy has this sacred experience when he is lying down in mud, even with his head down.”
“the zone is ultimately the very whiteness of the cinematic screen.”
What it carries
one story, many jobs: the ideas this anecdote is deployed to argue, one tally mark per use (an idea page shows the same relation from the other end, as its shelf of stories)
Its cast and sources
populated by
Michael Powell1Brothers Grimm1Andrew Schally1Ed1Cecilia Alemani1Cecil B. DeMille1Francis Ford Coppola1Mark Epstein1
alongside works
Every retelling 3
Praises Tarkovsky's film for depicting nature reclaiming industrial ruins, finding the sacred in the 'filth of this earth' rather than looking up to heaven., illustrating Living dead nature
In Tarkovsky's Stalker, the sacred experience occurs with the hero's head down in mud, not looking up. Žižek takes this as Tarkovsky's materialist aesthetic principle: the closer to rotten matter, the more spiritualized., illustrating inversion of materialism and spiritualism,Tarkovsky
The Stalker's zone is a prohibited space where nothing has changed but onto which one projects all inner fears and desires; Žižek identifies it with the blank white cinematic screen, a pure support for inner projection., illustrating the zone as cinematic screen,fantasy,cinema and the Real