Article:
The End of Desire? Love and the Soteriological Significance of Desire, Hope, and Belief in Andrei Tarkovsky’s STALKER (USSR 1979)

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dc.creatorLorenz, James
dc.date.accessioned2023-05-23T08:45:18Z
dc.date.available2023-05-23T08:45:18Z
dc.date.issued2020
dc.description.abstractThis article explores the soteriological significance of desire in Сталкер (STALKER, Andrei Tarkovsky, RU 1979). At the heart of the film, deep within a paranormal and psychosomatic frontier called the Zone, is a space which signifies the end of all desire: the Room, a preternatural place of mystical power which is said to grant one’s innermost wishes. The Zone and the Room become soteriological motifs. Tarkovsky’s characters travel there motivated by a yearning for healing; a hope for salvation. This article explores this soteriological journey through the interplay of desire, hope, and belief, for this triad is the key conceptual scheme at work in the film. By analysing the film with a focus on this framework, several theological and soteriological concepts emerge which can be fruitfully explored. Above all, by focusing on the significance of this triad, a crucial aspect of Tarkovsky’s religious thought comes to light: his understanding of the relationship between desire and love.en
dc.identifier.doi10.25364/05.06:2020.1.3
dc.identifier.doihttp://dx.doi.org/10.25969/mediarep/19514
dc.identifier.urihttps://www.jrfm.eu/index.php/ojs_jrfm/article/view/183
dc.identifier.urihttps://mediarep.org/handle/doc/20707
dc.languageeng
dc.publisherSchüren
dc.publisher.placeMarburg
dc.relation.isPartOfissn:2617-3697
dc.relation.ispartofseriesJournal for Religion, Film and Media
dc.rightsCreative Commons Attribution Non Commercial 4.0 Generic
dc.rights.urihttps://creativecommons.org/licenses/by-nc/4.0
dc.subjectLoveen
dc.subjectSoteriologicalen
dc.subjectSignificanceen
dc.subjectDesireen
dc.subjectHopeen
dc.subjectBeliefen
dc.subject.ddcddc:300
dc.subject.personAndrei Tarkovsky
dc.subject.workSTALKER
dc.titleThe End of Desire? Love and the Soteriological Significance of Desire, Hope, and Belief in Andrei Tarkovsky’s STALKER (USSR 1979)en
dc.typearticle
dc.type.statuspublishedVersion
dspace.entity.typeArticleen
local.coverpage2023-05-23T11:03:43
local.identifier.firstpublishedhttps://www.jrfm.eu/index.php/ojs_jrfm/article/view/183
local.source.epage52
local.source.issue1
local.source.issueTitleScience Fiction and Religion
local.source.spage37
local.source.volume6
local.subject.gndhttps://d-nb.info/gnd/118620835
local.subject.gndhttps://d-nb.info/gnd/7685692-6
local.subject.wikidatahttps://www.wikidata.org/wiki/Q853
local.subject.wikidatahttps://www.wikidata.org/wiki/Q200437

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