I watched Soderbergh’s Solaris again last night to try and get this paper going. I was again captivated by the visuals that seemed to pay homage to Tarkovsky’s love of flow. If Tarkovsky had had access to the latest in CG technology, would he have used it? I also noticed other parallels to the Tarkovsky, like the large video monitors on which the dead seemed to communicate with the living, the dreary cityscape on earth, and several key pieces of dialogue. Yet, this time I was most struck by the the notion of mirrors that ran throughout the film, both thematically and visually.
Potentially Related Posts
- Lem’s Solaris: Critique of Human Progress According to Muntius, Solaristics is the space era’s equivalent of...
- Soderbergh’s Solaris There are no answers, only choices. I finally finished watching...
- Tarkovsky’s Solaris To science? It’s a fraud! No one will ever resolve...
- Bush, Licklider, and Nelson The pieces by Bush, Licklider, and Nelson in the New...
- Science Fiction Issue This month’s Guardian has a special issue on science fiction,...
