Abstract

In this article I examine Andrei Tarkovsky’s 1962 film Ivan’s Childhood. The film tells a story about a twelve-year old Russian boy, whose family was killed by the Germans at the onset of WWII. Orphaned and dispossessed, Ivan began to scout for the Soviet troops. Eventually, he was captured, tortured and executed by the Gestapo. Using a wide gamut of mythopoetic “articulations,” in this film, Tarkovsky shows how Ivan’s victimization affected him beyond repair, leading to the erosion of his child identity and the emergence of a traumatic duality. The film therefore is not only a poignant condemnation of the war, but a disclosure of the victim phenomenon carried out by mythopoetic means. In my analysis of Ivan’s Childhood, I approach this phenomenon by focusing on the effects of trauma on the child, with a special emphasis on dreaming. For my theoretic, I employ the phenomenology of the child.