Absence of Music & Presence of Sound

the intention of my thesis was to examine the significance of sound in the film “stalker” (1979) by andrei tarkovsky. through the study, my objective was to analyse distinct sequences where sound substantially contributes to narrative development and to explore how a captivating language is created on the basis of the potential of sound to enhance a cinematic experience. i sought to internalise his methodologies of the use of sound, in order to apply the insight to my short film “sovereign of oneself”. the thesis became both a study and a meditation. the soundscapes immersed in the cinema of  andrei tarkovsky, in their purity and restraint, reveal an inherent presence of sound that produces a sensitivity the visual alone is unable to capture.

the imagery and sound design have a complementary quality in correlation to one another, serving as parallel expressions. a meticulously executed interplay of layers enables the sound to exceed literal interpretation, evoking expressions beyond mere representation. through the dynamic interaction of imagery and sound design, a transfigured impression of the material is created. the sound extends beyond its function as a sonic reflection of the visual, becoming an integral part of the auratic structure of the film.

the sound in “stalker” serves as an infiltrating presence penetrating and navigating the perception of the viewer through surpassing the conventional methods of the use of auditory representation in film. andrei tarkovsky engages the subconscious mind of the viewer to take an active role in forming a personal connection and meaning. his cinema, which inspired me to pursue my short film, continues to inform how i approach sound as the breath of image, as the resonance that gives form to the intangible.