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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 (1/11/06, 2:08 AM)   Last edited by: Mark Grimshaw-Aagaard
Resource type: Book Article
BibTeX citation key: Truppin1992
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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
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
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