List of contributors; Introduction: Refocus on Tarkovsky; Introduction to Part I; 1: Tarkovsky’s Childhood: Between Trauma and Myth, Evgeniy Tsymbal; 2: Trava-Travlya-Trata: Tarkovsky’s Psychobiography à la Lettre, Andrei Gornykh; 3: Does Tarkovsky Have a Film Theory? Sergey Toymentsev; Introduction to Part II; 4: The Child’s Eye View of War in Ivan’s Childhood, Sara Pankenier Weld; 5: The Truth of Direct Observation: Andrei Rublev and the Documentary Style of Soviet Cinema in the 1960s, Zdenko Manduši?; 6: Temporality and the Long Take in Stalker, Donato Totaro; 7: Framing Infinity in Tarkovsky’s Nostalghia, Yelizaveta Goldfarb Moss; 8: Approaching the Irreal: Realistic Sound Design in Andrei Tarkovsky’s Films, Julia Shpinitskaya; Introduction to Part III; 9: Andrei Tarkovsky, Or the Thing from the Inner Space, Slavoj Žižek; 10: Wounds of the Past: Andrei Tarkovsky and the Melancholic Imagination, Linda Belau & Ed Cameron; 11: The Flesh of Time: Solaris and the Chiasmic Image, Robert Efird; 12: Cinema as Spiritual Exercise: Tarkovsky and Hadot, Anne Eakin Moss; 13: Memory and Trace, Mikhail Iampolski; Introduction to Part IV; 14: Zvyagintsev and Tarkovsky: Influence, Depersonalization, and Autonomy, Lisa Ryoko Wakamiya; 15: Von Trier and Tarkovsky: from Antithesis to Counter-Sublime, Sergey Toymentsev and Anton Dolin