Andrei Tarkovsky

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  • Sound In Tarkovsky's Use Of Sound

    The use of music for example, is relatively sparse and unobtrusive. Tarkovsky instead fills the soundscape of the film with atmospheric reflections of the setting. The sounds of the breeze, or the rain, or a rushing river are presented, sometimes in the background, sometimes so loud that it obscures dialogue. In the absence of these sounds, often nothing is added, letting the viewer linger with the peaceful silence of a place now almost absent of humanity. Without human white noise, the viewer is sonically presented with the reality that nature has reclaimed this place. When man-made sound is introduced, it is often used to a disquieting effect. There is scene where the Writer must travel along an abandoned tunnel. As this scene progresses, the sounds of the rain and running water give way to mechanical twangs and…

    Words: 1508 - Pages: 7
  • Andrei Tarkov Sparknotes

    Tarkovsky’s first film outside of the Soviet Union, unsurprisingly, explores themes of loneliness and isolation. The Russian writer Andrei Gorchakov is in Italy to research the life of eighteenth-century poet Pavel Sosnovsky; Andrei is deep in the Tuscan countryside, with his translator Eugenia; the morning after their arrival we meet Domenico. Domenico is seen as a madman for keeping his wife and children locked in his home for seven years, for fear of a biblical apocalypse. Andrei feels an…

    Words: 525 - Pages: 3
  • A Trip To The Moon: Film Analysis

    This is one of only two of Tarkovsky’s films to not take place in the Soviet Union. His Nostalghia (1983) takes place in Italy, and Solaris takes place mostly on an interstellar space station orbiting the titular planet. The decision for Tarkovsky to explore a film set in outer space has ties into the Cold War-era tensions between the United States and the USSR. Stanely Kubrick’s 2001: A Space Odyssey was released only five years before Solaris and is the most ground breaking cinematic work to…

    Words: 1139 - Pages: 5
  • Gerry Gus Van Sant Analysis

    not used in the stereotypical way. In Akerman’s film, when there is a dialogue scene, the character talking to a friend, the camera doesn’t pan from the character to her friend. In fact, we do not even see the friend, as the camera does not move. Although one can see both characters, when both Gerrys walk in the beginning of the film, there is no shot/counter shot. The camera is fixed, the audience seeing the scene from only one angle. Their walks are fully recording, a continuous shot missing…

    Words: 1387 - Pages: 6
  • The Importance Of Close-Up In Cinema

    contrasted with the villainous faces of the judges. Sound in film came up in the late 1920s. Before that a close-up was able to show a person's thought or what they were feeling in a way a soliloquy would, but with the advent of sound, there was no longer a necessity to cut to a close-up as much anymore. If there had to be any information given it would be done through dialogue and the reason for cutting to close-up had gone down. Dialogue had also made the character verbalise their exact…

    Words: 1020 - Pages: 5
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