Article

Name: White Color in Cinema and Screenwriting Poetics Andrey Tarkovsky (“Andrey Rublev” and “The Mirror”)

Authors: Natalia A. Muratova, Daria A. Bushueva

Novosibirsk State Pedagogical University, Novosibirsk, Russian Federation

In the section The Plot, Motive, Genre

Abstract:

The article explores the meaning of white color in cinema and screenplay poetics of Andrei Tarkovsky’s “Andrei Rublev” and “The Mirror”, actualizes the parallels of the semantics of white in the cinema text with pictorial and textual solutions, including the lyrics of Arseny Tarkovsky. The role of white in the organization of metalepsis and the discursive diversity of films and screenplays is revealed, and points of contact between representations of color in painting, Christian culture, and Tarkovsky’s directorial optics are formulated. White is presented as a significant marker of the creative process, introducing into cinema and film script poetics of paintings an attitude towards conceptualization, the endless semantic intensity of the artistic image. At the same time, the white color also acts as a significant marker of the light presence in the technical and semiotic aspects for the cinematic whole.

Keywords: cinema, screenplay, Andrey Tarkovsky, metalepsis, intermediality

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