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.
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. 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.
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.
Table of Contents
Chapter 1: Interpreting Tarkovsky’s Cinema through its Music
Chapter 2: Bach at the Space Station: Diegetic Ambiguities and Multiplying Gaps in Solaris
Chapter 3: Memories, Dreams and Mysteries: Music and Dimensions of Human Experience in Mirror
Chapter 4: Beethoven Overcome: Transcendence and Utopia in Stalker
Chapter 5: Musical Offerings, Soothing Sounds and Sacrificial Acts: Managing the Nostalgia of Nostalghia
Chapter 6: The Voice of Truth: Liminal Music, Spiritual Authenticity and Gradual Awakening in The Sacrifice
Chapter 7: Music, Meaning and Troubled Utopias in Tarkovsky’s Cinema
Appendix: The Structure of Mirror
Tobias Pontara is Professor in Musicology at the University of Gothenburg, Sweden.