This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Tarkovskiĭ, Andreĭ Arsenʹevich, 1932-1986.Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Tarkovskiĭ, Andreĭ Arsenʹevich, 1932-1986 - Criticism and interpretation Tobias Pontara isProfessor in Musicology at the University of Gothenburg, Swedenĭescription based on print version record and CIP data provided by publisher resource not viewed Includes bibliographical references and index An excellent resource for scholars, researchers and students interested in European art cinema and the role of music in film, as well as for film aficionados interested in Tarkovsky's work"- Provided by publisher Exploring the multilayered relationship between music, sound, film image and narrative space, Pontara provides penetrating and innovative close readings of Solaris (1972), Mirror (1975), Stalker (1979), Nostalghia (1983) and The Sacrifice (1986) and in turn deeply enriches critical understanding of Tarkovsky's films and their relation to the broader traditions of European art cinema.
The first comprehensive study in English concentrating on the soundtrack in Tarkovsky's cinema, this book reveals how Tarkovsky's use of electronic music, electronically manipulated sound, traditional folk songs and fragments of canonized works of Western art music plays into the philosophical, existential and ethical themes recurring throughout his work. "Andrei Tarkovsky's Sounding Cinema adds a new dimension to our understanding and appreciation of the work of Russian director Andrei Tarkovsky (1932-1986) through an exploration of the presence of music and sound in his films.
Interpreting Tarkovsky's Cinema through its Music - Bach at the Space Station : Diegetic Ambiguities and Multiplying Gaps in Solaris - Memories, Dreams and Mysteries : Music and Dimensions of Human Experience in Mirror - Beethoven Overcome : Transcendence and Utopia in Stalker - Musical Offerings, Soothing Sounds and Sacrificial Acts : Managing the Nostalgia of Nostalghia - The Voice of Truth : Liminal Music, Spiritual Authenticity and Gradual Awakening in The Sacrifice - Music, Meaning and Troubled Utopias in Tarkovsky's Cinema - Appendix. Music and sound on the international screen
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