Transcending the audible word and presenting reality as a set of fragmented images and distorted memories instills a flavor of lyricism in Yuri Norstein's silent animated film “Tale of Tales” (1979). Echoing Boris Eikhenbaum's principles of the trans-rational cinematic language, Norstein establishes a visual collage that links disparate images in a way that produces a dreamlike inner coherence, one based on poetic reasoning. The combination of separate images into a meaningful whole is achieved by the spectator through inner speech. However, in order to achieve full comprehension, it becomes inevitable to dismantle “Tale of Tales'' conceptual scaffolding consisting of metaphor, metonymy, and mise en abyme that make up its lyricism and conjure up the pre-cognitive and, effectively, delay the cognitive and hermeneutical end. The present paper provides new perspectives for the perception and interpretation of Norstein's animated film. It also attempts to reconstruct the theoretical assumptions behind them. “Tales of Tales” is interpreted as a result of duplication, multiplication, and reflection, leading to infinite regression that deconstructs the simultaneous equivalencies of metaphor and point to a world of infinitely ambiguous metonymies that function as reflections of the artist's self. Meta-images, memories within memories, dislocate “Tale of Tales'' syntagma, its temporal and spatial sequentiality related to inner speech, and thus automatically cancel out full and immediate cognition and interpretation.
|Keywords:||Inner Speech, Silence, Animated Film, Mise en Ebyme, Metaphor, Metonymy, Meta-image, Memories|
Doctoral Student, Department of Languages, Literatures, and Cultures,, Russian and Slavic Studies, McGill University, Montreal, Canada