安德烈·塔可夫斯基：电影的元素

• 发表：2024-06-16
• 分类：人文社科
• 围观：42

• Efkfra

  2012-09-17
  Sacrifice hearkens directly back to Turnabout in its use of sound; in both works the air carries the noise of seagulls and distant fog-horns both to place the narrative and, at the same time, to dissolve it within the greater natural and social world. Shot within a bird sanctuary during the mating season, Tarkovsky was insistent that no birds be audible; thus all of the sound was recreated in the studio and post-synchronized. The creaks of the house were reproduced by the sound engineer Owe Svensson in his own country cottage, who recorded each character’s gait by walking in an old house with various pairs of shoes, avoiding the use of stock sounds like the footsteps in Nostalghia. In addition to Bach, the soundtrack featured music of the Japanese bamboo flute and Swedish herd calling that...
• Efkfra

  2012-09-16
  Of course, Eugenia’s temptation to ‘surrender to the inertia’ of natural flows is inseparable from her hysterical resistance to it; this tension is at the heart of all of Tarkovsky’s characters and even his camera. Žižek proposes that Eugenia is protesting ‘not only against the hero’s tired indifference, but also, in a way, against the calm indifference of the static long shot itself, which does not let itself be disturbed by her outburst’.23 Tarkovsky had noted a similar effect in the scene of the blinding of the masons in Andrei Rublëv, where ‘[t]he impassibility and frigidity of the immobile camera only underscored the tragic nature of what was occurring, heightening its dramatism’.24 Indeed, the tension is stretched most taut not between Gorchakov and Eugenia per se, but between each o...
• Efkfra

  2012-09-16
  Each of Tarkovsky’s poems presents a single space within which three details are simultaneously present. Moreover, not all of the lines communicate single images; some describe motion or even sound within the same frame as the preceding line. The discrete action in each of Eisenstein’s haiku – the wolf howling or the butterfly flying – punctures a static background and is over. By contrast, in Tarkovsky’s first haiku it is the dynamic background that brings the foreground into motion, while in his second the movement is created by the narrowing of the aperture as the poem zooms in from the plant to the dewdrops suspended upon it.Tarkovsky shifts from sequential juxtapositions to what Eisenstein would call ‘vertical montage’ or juxtapositions between different planes within the shot or se...

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