Eva Mahon 

This Thesis examines dream sequences in the films of Andrei Tarkovsky. Andrei Tarkovsky is a Russian filmmaker active from the 1960s through to the 1980s. A well-known signature of Tarkovsky’s filmmaking is his use of unconventional narrative structures and use of memory/dream sequences. The effectiveness of these techniques has allowed them to become known tropes of Art-House cinema. This inquiry examines how Tarkovsky creates his own unique cinematic language to depict narratives that are very personal to him. This piece focuses on a dream sequence from his films Ivan’s Childhood, Mirror and Nostalghia. Ivan’s Childhood is Tarkovskys first film, it’s dream sequences adopt more conventionalities than his later work. 'Mirror' is arguably Tarkovsky's most experimental film, the structure of the film is non-linear and the distinction between dream, reality and memory is unclear making the plot difficult to follow. 'Nostalghia' is Tarkovsky’s penultimate film, in this film he addresses the effects of being separated from one’s homeland which is reflected in the protagonist’s dream world. Tarkovsky’s writing is often incorporated into this piece, which provides an understanding of his artistic process and opinions. The conclusion is that Tarkovsky uses dream sequences to express the introspection and subjectiveness of the human experience. His philosophy on film enables him to create his own cinematic language breaking away from industry conventions.