Abstract
Memory works as a nodal point in the narratives of both Solaris directed by Tarkovsky (1972) and Soderbergh (2002). These are, however, two different memories that are implicit in the film elements of the two works. This article aims to study the elements that allow us to perceive its differences and the way that it is articulated. While Tarkovsky is closer to a Bergsonian vision of memory, Soderbergh articulates it as a mounting of pulsions, revealing the extension of change that the self perception of an object can bring to the cinematographic work.
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