Altman, R. (1992). Afterword: A baker's dozen terms for sound analysis. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 249–253). New York: Routledge.
Added by: Mark Grimshaw-Aagaard 04/11/2004, 11:57
Truppin, A. (1992). And then there was sound: The films of Andrei Tarkovsky. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 235–248). New York: Routledge.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/01/2006, 01:08
In Tarkovsky's later films, audiences choose between "accepting that a sound proves the existence of an unseen object and that of believing in the existence of an invisible spiritual world. Because we posit a source for every offscreen diegetic sound, we believe in the existence of this source even when we cannot produce a viable mental image of it. We believe, although we cannot explain or prove." Truppin explains the last paradox as a fundamental of religious faith.
"...offscreen sound enlarges the film space beyond the borders of the screen. We imagine not only the reality of the world seen on screen, but that of a larger world stretching on indefinitely beyond it."
Tarkovsky's films: "...Tarkovsky's sounds assume a great richness of meaning. ... All sounds of the world [Tarkovsky's film world] can have meaning; all sounds can be signs. ...his ambiguous sounds call out for explanation that is often withheld." Tarkovsky's sounds are very often ambiguous and/or disconcerting.
