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Bach at the space station: Hermeneutic pliability and multiplying gaps in Anderi Tarkovsky's Solaris. Music, Sound, and the Moving Image,  Buy Andrei Tarkovsky's Sounding Cinema: Music and Meaning from Solaris to The Sacrifice (Music and Sound on the International Screen) 1 by Pontara, Tobias  Andreï Tarkovski también se enrola en la resistencia contra los dos mundos por Monique Canto-Sperber, el artículo «Violencia», escrito por Giuliano Pontara ,  Pontara, Tobias: “Beethoven Overcome: Romantic and Existentialist Utopia in Andrei Tarkovsky's Stalker”, 19th-Century Music (2011), 302-315. Porter, David G .:  9781000764000 1000764001 Andrei Tarkovsky's Sounding Cinema - Music and Meaning from Solaris to The Sacrifice, Tobias Pontara 9781910828786  ABAURRE, Maria Luiza; PONTARA, Marcela. Literatura Brasileira: CECIM, V.F. Tarkovski: através de uma fina película transparente. Triplo V. Disponível em:. 15 jun 2018 TOBIAS PONTARA. Scoring the Andrei Tarkovsky (1931–1986) devotes a few pages to discuss the use of electronic music in film, concluding  Tobias Pontara - consulte a biografia e bibliografia do autor de Andrei Tarkovsky'S Sounding Cinema e Andrei Tarkovsky'S Sounding Cinema.

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Pontara intervenes as a music specialist not only to further texturize the scholarly consensus about Tarkovsky’s work through its soundtracks, but also to correct the record, which, as Pontara shows, is full of inaccuracies concerning what music Tarkovsky deploys and where he deploys it. Our understanding of Tarkovsky’s soundscape greatly 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. Andrei Tarkovsky's Sounding Cinema Music and Meaning from Solaris to The Sacrifice 1st Edition by Tobias Pontara and Publisher Routledge. Save up to 80% by choosing the eTextbook option for ISBN: 9781000764109, 1000764109. The print version of this textbook is ISBN: 9780367277291, 0367277298. Andrei Tarkovskys 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. Pontara, Tobias Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Musicology.

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”Beethoven Overcome: Romantic and Existentialist Utopia in Andrei Tarkovsky’s Stalker” 19th-Century Music 34: 3, 302-315. 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 2021-4-8 · About Tobias Pontara. Research.

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Andrei Tarkovsky's Sounding Cinema: Music and Meaning from

Bach at the Space Station: Hermeneutic Pliability and Multiplying Gaps in Adrei Tarkovsky's Solaris. Music, Sound and the Moving Image (Forthcoming) 2014  av T Pontara — Pontara, Tobias (2014) “Bach at the Space Station: Hermeneutic Pliability and. Multiplying Gaps in Andrei Tarkovsky's Solaris”, in Music, Sound, and the Moving. 1:a upplagan, 2019. Köp Andrei Tarkovsky's Sounding Cinema (9780367277291) av Tobias Pontara på campusbokhandeln.se. Projektet har resulterat i en bok: ”Andrei Tarkovsky's Sounding Cinema: Music and Meaning from Solaris to The Sacrifice”. Boken, som består av sju kapitel,  Tobias Pontara, född 1968, svensk musikforskare.

Pontara tarkovsky

inbunden, 2019. Tillfälligt slut. Köp boken Andrei Tarkovsky's Sounding Cinema av Tobias Pontara (ISBN 9780367277291) hos Adlibris. Fri frakt. Pris: 1569 kr. Inbunden, 2019.
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Pontara intervenes as a music specialist not only to further texturize the scholarly consensus about Tarkovsky’s work through its soundtracks, but also to correct the record, which, as Pontara shows, is full of inaccuracies concerning what music Tarkovsky deploys and where he deploys it. Our understanding of Tarkovsky’s soundscape greatly Pontara is the author of Andrei Tarkovsky’s Sounding Cinema: Music and Meaning from Solaris to The Sacrifice (Routledge 2020). 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. 2021-2-15 · Pontara suggests plausibly that Tarkovsky is exposing the catastrophic failure of industrial and cultural progress alike. The final scenes bring tremors of hope. Although the travellers return 2021-2-15 · Pontara points out the ideologica­l problem underlying this concluding wonder: in place of failed Romantic aesthetics, Tarkovsky substitute­s his own heroic gesture of transcende­nce.

Andrei Tarkovsky's Sounding Cinema : Music and Meaning From Solaris to The Sacrifice.. APA Pontara, T. Andrei Tarkovsky's sounding cinema : music and meaning from Solaris to The Sacrifice.. Chicago Pontara, Tobias, Andrei Tarkovsky's Sounding Cinema: Music and Meaning From Solaris to The Sacrifice. 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 2021-02-15 · Pontara, in his absorbing study of Tarkovsky’s use of music and sound, shows how much of the spell of “Stalker” depends on its extraordinary audio track. Artemyev, who specialized in electronic composition before collaborating with Tarkovsky, devises a seething soundscape in which otherworldly ditties alternate with upwellings of noise. Abstract.
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Pontara tarkovsky

Fredrika  TOBIAS PONTARA. Scoring the incomprehensible: The role and significance of electronic music in Andrei. Tarkovsky's Mirror (1975). Towards  Podcasten drivs av Tobias Pontara, professor i musikvetenskap, och Boktips: Tobias Pontaras Andrei Tarkovsky's Sounding Cinema: Music  se/english/research/publications/publications-from-2009-until-presentTobias Pontara (2020) Andrei Tarkovsky's Sounding Cinema: Music and Meaning from  acts: displacement, redemption; beethoven and verdi in andrei tarkovsky's. Pontara, tobias och ulrik volgsten (2019) ”musikalisering och  Musikbibliothek PetersJojksamlaren Karl TirénAndrei Tarkovsky's Sounding music, sound, film image and narrative space, Pontara provides penetrating and. 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. Pontara intervenes as a music specialist not only to further texturize the scholarly consensus about Tarkovsky’s work through its soundtracks, but also to correct the record, which, as Pontara shows, is full of inaccuracies concerning what music Tarkovsky deploys and where he deploys it.

Pontara, Tobias, 1968- (författare); Beethoven overcome : romantic and existentialist utopia in Andrei Tarkovsky's Stalker; 2011; Ingår i: 19th century music. Andrei Tarkovsky's Sounding Cinema: Music and Meaning from Solaris to the Sacrifice: Pontara, Tobias: Amazon.se: Books. Bach at the Space Station: Hermeneutic Pliability and Multiplying Gaps in Adrei Tarkovsky's Solaris. Music, Sound and the Moving Image (Forthcoming) 2014  av T Pontara — Pontara, Tobias (2014) “Bach at the Space Station: Hermeneutic Pliability and.
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19 Jun 2011 It crops up also in the final scene of Tarkovsky's (1979) Stalker, masked by the noise of a running train, in which, according to Tobias Pontara,  PONTARA , MARCELA (5). PONTARA , MARCELA NO (5). POOLE , SUSIE (5).

Andrei Tarkovskijs klingande filmvärldar: en reflektion om

Pontara intervenes as a music specialist not only to further texturize the scholarly consensus about Tarkovsky’s work through its soundtracks, but also to correct the record, which, as Pontara shows, is full of inaccuracies concerning what music Tarkovsky deploys and where he deploys it. Our understanding of Tarkovsky’s soundscape greatly Tobias Pontara, Andrei Tarkovsky’s Sounding Cinema: Music and Meaning from Solaris to The SacrificeAbingdon, UK. Routledge, 2020. [206pp. ISBN: 9780367277291. $124 Among directors, Tarkovsky has become a godlike figure, his signature motifs imitated to the point of becoming clichés. He is the chief exemplar of what is sometimes called slow cinema, in which Tobias Pontara is Professor in Musicology at the University of Gothenburg, Sweden. Pontara’s research lies at the intersection between cultural studies, philosophical aesthetics, and film music studies.

It is also a distinction that has been much debated, as evidenced in recent discussions by, among others, Jeff Smith, David Neumeyer, Giorgio Biancorosso, Ben Winters, and Guido Heldt. A frequently recurring theme in these discussions has been Robin Stilwell’s notion of ‘the fantastical gap’, that Tobias Pontara. University of Gothenburg, Department of Cultural Sciences, Faculty Member.