Sound Research WIKINDX
Sound Research WIKINDX |
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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 (11/01/2006, 02:08) Last edited by: Mark Grimshaw-Aagaard |
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| Resource type: Book Chapter BibTeX citation key: Truppin1992 Email resource to friend View all bibliographic details  |
Categories: Film Music/Sound, Sound Design Keywords: aesthetics, Ambiguity, Aural Imagery, Diegetic/non-diegetic, Film sound, Silence, Sonic Narrative, Sound hermeneutic, Symbolism, Visual Space Creators: Altman, Truppin Publisher: Routledge (New York) Collection: Sound Theory Sound Practice |
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An analysis of sound in Tarkovsky's late films. Of some importance to FPS games in the creation of imaginary worlds, meaning of sound etc.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard |
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| p.236 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. Added by: Mark Grimshaw-Aagaard |
| p.236 "...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." Added by: Mark Grimshaw-Aagaard |
| p.237 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. Added by: Mark Grimshaw-Aagaard |