The book is devoted to a versatile study of the musical text in the films of Andrei Tarkovsky.
Music exists in the films of the master as a multi -layer developing phenomenon. The sound path captures the evolution from discreteness to continuity, from the plot of sound drama to its semantic identification with universal musical concepts of various eras and cultures (from European baroque to Zena meditation). Specific musical types of temporary construction and musical semantics are projected into the visual series of films. In such conditions, the image is able to create new aspects of musical meanings, comment on musical culture in a historical aspect, producing an individual musical and historical myth. The unique audiovisual system of Tarkovsky’s paintings ultimately turns out to be a special way to comment on their deep plots. A similar approach to the study of the cinematic text is applied for the first time.
Author
Kononenko Natalia Gennadievna
Publisher
Progress-PRODICATION, 2011
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