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can say about desire and love is something of their respective staying power: de- sire may manifest fleetingly; every journey to the Room will have an end, after all, but love is eternal, and the gift of love remains long after the journey is over, even if you never reach your destination. Bibliography Hart, David Bentley, 2003, The Beauty of the Infinite. The Aesthetics of Christian Truth, Grand Rapids, MI: Eerdmans. Hart, David Bentley, 2005, The Lively God of Robert Jenson, First Things 156, October, 28–34. Smith, Stefan, 2007, The Edge of Perception. Sound in Tarkovsky’s Stalker, The Soundtrack 1, 1, 41–52. Tarkovsky, Andrei, 1986, Sculpting in Time. Reflections on the Cinema, London: The Bodley Head. Turovskaya, Maya, 1989, Tarkovsky: Cinema as Poetry, London: Faber & Faber. Further Readings Green, Peter, 1993, Andrei Tarkovsky. The Winding Quest, London: Macmillan. Skakov, Nariman, 2012, The Cinema of Tarkovsky. Labyrinths of Space and Time, London: I. B. Tauris. Tarkovsky, Andrei, 1991, Time within Time. The Diaries, Calcutta: Seagull Books Private. Filmography Андрей Рублёв (Andrei Rublev, Andrei Tarkovsky, USSR 1969). Зеркало (Mirror, Andrei Tarkovsky, USSR 1975). Ива́ново де́тство (Ivan’s Childhood, Andrei Tarkovsky, USSR 1962). Солярис (Solaris, Andrei Tarkovsky, USSR1972). Сталкер (Stalker, Andrei Tarkovsky, USSR1979). The Wizard of Oz (Victor Fleming, US 1939). 52 | James Lorenz www.jrfm.eu 2020, 6/1, 37–52