Indiana University Press Paperback English
And the Cow Burned
Animals and Philosophy in the Cinema of Andrei Tarkovsky
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In the films of legendary Soviet director Andrei Tarkovsky, images of visually striking and mysterious animals serve as powerful symbols, marvels, and metaphors, from nomadic dogs to rolling horses and soaring birds. Yet Tarkovsky's hauntingly beautiful depictions of animals exist in suspended tension with his often grisly portrayals of animal cruelty – exemplified by the cow he set on fire while making his second feature film Andrei Rublev. These disturbing moments challenge viewers' perceptions of Tarkovsky's morality and complicate his films' refined artistry. And the Cow Burned is a dynamic interdisciplinary study of Tarkovsky's filmography that draws on insights from animal studies, ethical philosophy, and film theory. Through focused case studies centered on different animals, De Luca posits that Tarkovsky's body of work serves as a canvas for animal philosophy, exposing contradictions inherent in human-animal relationships while raising questions about agency, ethics, and power. Readers are invited to engage with the ethical ramifications of Tarkovsky's depictions and understand these animals as real beings whose experiences are fundamentally woven into his moral and aesthetic considerations. And the Cow Burned challenges us to rethink the connections between animals and humans, encouraging a fresh perspective on the paradoxical exchanges that shape our interactions and paving the way for new interpretations in the future.
In the films of legendary Soviet director Andrei Tarkovsky, images of visually striking and mysterious animals serve as powerful symbols, marvels, and metaphors, from nomadic dogs to rolling horses and soaring birds. Yet Tarkovsky's hauntingly beautiful depictions of animals exist in suspended tension with his often grisly portrayals of animal cruelty – exemplified by the cow he set on fire while making his second feature film Andrei Rublev. These disturbing moments challenge viewers' perceptions of Tarkovsky's morality and complicate his films' refined artistry. And the Cow Burned is a dynamic interdisciplinary study of Tarkovsky's filmography that draws on insights from animal studies, ethical philosophy, and film theory. Through focused case studies centered on different animals, De Luca posits that Tarkovsky's body of work serves as a canvas for animal philosophy, exposing contradictions inherent in human-animal relationships while raising questions about agency, ethics, and power. Readers are invited to engage with the ethical ramifications of Tarkovsky's depictions and understand these animals as real beings whose experiences are fundamentally woven into his moral and aesthetic considerations. And the Cow Burned challenges us to rethink the connections between animals and humans, encouraging a fresh perspective on the paradoxical exchanges that shape our interactions and paving the way for new interpretations in the future.