Metalepsis and voice-off in Tarkovsky’s The Mirror This article explores the application of the concept of metalepsis beyond the realm of textual narratology. While Genette, in his later reflections on the extension of this device to extraliterary narratives, focuses primarily on the visual language of cinema, my analysis examines the narrative elements that films convey through verbal means rather than images – even those that exist beyond the visual frame. Specifically, I will focus on Andrei Tarkovsky’s The Mirror (1974), analyzing its extensive use of voice-off and demonstrating that these instances fulfill multiple functions, many of which extend beyond narrative in a strict sense.
Metalepsis and voice-off in Tarkovsky’s The Mirror
Manara M.
2024-01-01
Abstract
Metalepsis and voice-off in Tarkovsky’s The Mirror This article explores the application of the concept of metalepsis beyond the realm of textual narratology. While Genette, in his later reflections on the extension of this device to extraliterary narratives, focuses primarily on the visual language of cinema, my analysis examines the narrative elements that films convey through verbal means rather than images – even those that exist beyond the visual frame. Specifically, I will focus on Andrei Tarkovsky’s The Mirror (1974), analyzing its extensive use of voice-off and demonstrating that these instances fulfill multiple functions, many of which extend beyond narrative in a strict sense.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
