拉康指出:在父亲——母亲——孩子的家庭体系中,父亲的位置往往是由“父之名”的这一能指符号来替代,而“父之名”的意义可能通过其他社会成员的话语甚至某些物质实在所代替,这在塔可夫斯基的电影中有着极其贴切的表现。本文将结合塔可夫斯基的生平从电影文本出发,来探究“父之名”在其影像中的表达,以及如何弥合着塔可夫斯基的内心对于社会和家庭关系的认识。 Lacan points out that in the family system of the father-mother-child, the father’s position is often replaced by the signifier of “father’s name”, and the meaning of “father’s name” may be Substantiated by the discourse of other members of the society and even by the very existence of certain substances, this is an extremely apt manifestation of Tarkovsky’s films. In the light of Tarkovski’s life, this article explores the expression of “the name of the Father” in its images and how to reconcile Tarkovsky’s inner understanding of social and family relations.