Tarkovsky's Cinematic Landscape

But, nature does not exclude humans, human excludes themselves from nature. Within the “mists of [the] chopping sea of civilized life, such are the clouds and storms and quicksands and thousand and one items to be allowed for”(277). He uses clouds and storms and quicksands to convey that civilized life includes the same negativity included in the connotation of those conditions, but nonetheless, those too are apart of nature. The purpose of utilizing imagery is so evoke images people already have to connect with them on that level to make them understand that they must find a harmony and balance in the world. So, in order to restore order within one’s individual life, one must defy the social norms that distance themselves from nature to find harmony with it.

In the essay, “A Literature of Place”, by Barry Lopez focuses on the topic of human relationships with nature. He believes human imagination is shaped by the architectures it encounters within life. Lopez first starts his essay with the statement that geography is a shaping force for humans. This shaping force is what creates our imagination; the shaping force is found within nature. Everything humans see within nature is remembered, thus creating new ideas and thoughts for our imagination.

One main idea of landscape architecture is to persuade people to interact with nature and to enjoy and help it, not to destroy or harm it. Nature is as much as part of this world as humans are; without nature or the wilderness there would be no society. Leopold states, “Wilderness is the raw material out of which man has hammered the artifact called civilization” (264). Human grew out of nature. In the essay “Wilderness” Aldo Leopold talks about nature as if it is a masterpiece painted by the earth or as if it is an ancient artifact in a famous museum.

Evelyn White continues, “certain if I ventured outside to admire a meadow or to feel cool ripples in a stream, I’d be taunted, attacked, raped, maybe even murdered because of the color of my skin” (White 1063). This perspective, illustrates what she believes would happen, if she were to go “outside”. The consequences would be ugly, and she makes the reader even feel threatened by this. She describes the nature itself as more relaxing and beautiful to look at, but then contradicts it with her feelings of fear and vulnerability to the wilderness. In the text “Nature”, by Raymond Williams, he explains the complexity of nature as a “tension: nature was at once innocent, unprovided, sure, unsure, fruitful, destructive, a pure force and tainted and cursed” (Williams 222).

In one novel named Doctor Zhivago by Boris Pasternak, Chris underlines the words “refuge in nature” (Krakauer 189). By underlining those words, Chris stresses their importance to him. Since he wants to find “refuge”, Alex is seeking to leave or escape from somewhere, which is the indulgent society he has lived in for the entirety of his life. This aligns with “moving away from corruption, limits, and civilization” (Tenet Chart). Romantics prefer a life harmonious with nature in lieu of one submerged in a society that has an insatiable hunger for possessions.

Contrasting the light, Muir offers bleak descriptions of the cheerless sicknesses to which nature has succumbed. Muir describes a scene as “a beautiful countenance destroyed by some dreadful disease” (“Reservations” par. 3). Though the isocolon of beautiful and countenance, he creates flowing tone; however, it stops from the harsh consonance of “dreadful disease,” bringing attention to this change. Muir contrasts the dystopic nature-free land in saying “[humans] may disappear without any burning or extraordinary commotion whatever” (“Universe” par. 7). By claiming a lack of dystopia, he appeals to his audience’s ethos; he creates a inner conflict about, as the title of the piece suggests, “Man’s Place in the Universe.”

Nature is easily projected onto, as it allows for a sense of peacefulness and escapism. Due to its ability to evoke an emotional reaction from the masses, many writers have glorified it through various methods, including describing its endless beauty and utilizing it as a symbol for spirituality. Along with authors, artists also show great respect and admiration for nature through paintings of grandiose landscapes. These tributes disseminate a fixed interpretation of the natural world, one full of meaning and other worldly connections. In “Against Nature,” Joyce Carol Oates strips away this guise given to the environment and replaces it with a harsher reality.

In “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and

It has been used in the writings of nature to express the vision that takes place in it. In the essay, “A Literature of Place,” by Barry Lopez,

(Adams, A., 1977. p. 8). This suggests that Adams images are sublime as his focus was more on the meaning of the landscape

The unknown landscapes also allowed artists like Thomas Cole, John Vanderlyn and James McDonald to embellish or magnify the grandeur of the subject (NYS Conservationist 6,

Film takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love.

Many people who go into nature always see it as something beautiful and aesthetic, but they never see the other side to nature. Humankind’s connection with nature isn’t a real one. They always look at the bright side of nature but are blind to the true dark side of nature. JB MacKinnon’s article “False Idyll” (2012), reveals that nature is not just flowers in a field but can also be the survival of the fittest. He backs up his claim by talking about nature through anecdotes and expert’s research.

Saint Petersburg, the setting of Crime and Punishment, plays a major role in the formation in Fyodor Dostoyevsky’s acclaimed novel. Dostoyevsky’s novels focus on the theme of man as a subject of his environment. Dostoyevsky paints 1860s St. Petersburg as an overcrowded, filthy, and chaotic city. It is because of Saint Petersburg that Raskolnikov is able to foster in his immoral thoughts and satisfy his evil inclinations. It is only when Raskolnikov is removed from the disorderly city and taken to the remoteness of Siberia that he can once again be at peace.

Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.