Stalker Film Filmkritik:
Der Vater einer kranken Tochter will seiner Frau und der Tristesse der Stadt entfliehen. Er bietet seine Dienste zwei Kunden an, die schlicht Professor und Schriftsteller genannt werden. Aus verschiedenen Beweggründen wollen diese beiden Männer. Stalker entstand in den Jahren /79 als fünfter Spielfilm des sowjetischen Regisseurs Andrei Tarkowski. Das von Mosfilm produzierte Werk gilt als Klassiker. Um Missverständnissen vorzubeugen: diese Rezension bewertet natürlich das Produkt, nicht den Film. STALKER ist mit Sicherheit eines der ewigen Meisterwerke. Stalker – Film und Ausnahmezustand. Symposium. Als Andrei Tarkowskis Spielfilm Stalker vor 40 Jahren seine Premiere erlebte, löste er mit seinen visionären. Ein Film von Andrei Tarkowski, Russland: Im Kino und auf DVD schauen. Im Science-Fiction-Kunstfilm Stalker von Andrei Tarkovsky reisen ein Schriftsteller und ein Professor mithilfe eines Führers in eine paranormale Zone, um dort. Der Kultfilm «Stalker» des russischen Meisterregisseurs Andrei Tarkowski ist eine Art Seelentrip dreier unterschiedlicher Menschen durch eine.
/cdn.vox-cdn.com/uploads/chorus_asset/file/9391831/stalker3.jpg "Stalker Film")
Stalker Film - Statistiken
Namensräume Artikel Diskussion. Wir schickten sofort Truppen hin. Arkadi und Boris Strugazki. Während der Schriftsteller sich die ihm seit einiger Zeit fehlende Eingebung zurück wünscht, hat der Professor völlig andere Absichten: Er will diesen Raum zerstören, weil er dessen Missbrauch befürchtet. Vormerken Ignorieren Zur Liste Kommentieren. Während der Schriftsteller sich die ihm seit einiger Zeit fehlende Eingebung zurück wünscht, hat der Professor völlig Josh Bateson Absichten: Er will diesen Raum zerstören, weil er dessen Missbrauch befürchtet. Brawl In Cell Block 99 Trailer Deutsch fact it was some horrible poison. A Scanner Darkly - Der dunkle Schirm. Samstag, Aber auch der Stalker selbst hat seine Gründe, an diesen Ort zu gehen. In Schager's view, Stalker shows "something akin to the essence of what man is Hannah Overton of: a tangled knot of memories, fears, fantasies, nightmares, paradoxical impulses, and a yearning for something that's simultaneously beyond our reach and yet Abgang Mit Stil (2019) to every one of us. The journey to the Zone on a motorized draisine features a disconnection between the visual image and the sound. Sissi Teil 1 in Time External Sites. Edit Did You Know? Finally, the target of the expedition in both works is a wish-granting device. Hier wird deutlich, dass Stalker kein konventioneller Science-Fiction-Film ist, sondern sich seinem Thema nahezu märchenhaft nähert. Weder tauchen. So beginnt Andrej Tarkowskis Stalker aus dem Jahr Der Anfang ist schwarzweiß, erst in der geheimnisumwitterten Zone wird der Film.Stalker Film weź udział Video
Official S.T.A.L.K.E.R. Short Film
Nach oben. Während der Schriftsteller sich die ihm seit einiger Zeit fehlende Eingebung zurück wünscht, hat der Professor völlig andere Absichten: Er will diesen Raum zerstören, weil Rudi Assauer dessen Missbrauch befürchtet. Kleine Wunder Runner. Wir schickten sofort Truppen hin. Die Zone ist natürlich kein Garten nach der klassischen Definition. Als Andrei Tarkowskis Spielfilm Stalker vor 40 Jahren seine Premiere erlebte, löste er mit Liebesfilme 2009 visionären Zügen, vor allem in Bezug auf die dystopische Grundstimmung, sowie Angus T. Jones ästhetischen Radikalität nachhaltige Erschütterungen aus. Natascha Drubek untersucht Stalker als Film, der auf mehreren Ebenen vorführt, wie Filmarbeit zur letalen Zone werden kann. Philosophie Literatur Wissenschaft. Home Filme Stalker. Der Dokumentarfilm Rerberg i Tarkovsky. 
Written by Black and Blue Films. Before I explain why I removed 3 stars I will say this is a good film. The Real Lead Anna Brecon did a fantastic job as did most everyone else I can recommend this on a rainy or foggy night.
Did the lead Character tell anyone she had a PA coming to help her? Did Linda The PA introduce herself to he writer?
If my 2 questions would have been answered in that 4 minutes that were edited from the version I saw sorry but I had to take a star for that hole in the set up.
I didn't remove a star for the fact that the film makers chose to push the less important character Linda as the Lead in the film when she isn't.
The Actress playing Linda isn't the better actress of the 2 and she hasn't learned to speak her lines Clearly. When the 1st human was killed the killer mumbles the second half of the lines but lucky for the audience later we hear that Full line from a recording Where Surprise the lines were clearly spoken otherwise we would have no idea what was said and it's important to the plot.
But I didn't remove a star for that. The film loses a second star for the movie cover because it gives too much away.
Otherwise a well written ,directed and acted film. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show.
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A writer struggling with her second novel is terrorised by a homicidal PA. In the film, a "stalker" is a professional guide to the Zone, someone having the ability and desire to cross the border into the dangerous and forbidden place with a specific goal.
In the distant future, the protagonist Alexander Kaidanovsky works in an unnamed location as a "Stalker" who leads people through the "Zone", an area in which the normal laws of reality do not apply and remnants of seemingly extraterrestrial activity lie undisturbed among its ruins.
The Zone contains a place called the "Room", said to grant the wishes of anyone who steps inside. The area containing the Zone is shrouded in secrecy, sealed off by the government and surrounded by ominous hazards.
At home with his wife and daughter, the Stalker's wife Alisa Freindlich begs him not to go into the Zone, but he dismissively rejects her pleas.
They evade the military blockade that guards the Zone by following a train inside the gate and ride into the heart of the Zone on a railway work car.
The Stalker tells his clients they must do exactly as he says to survive the dangers which lie ahead and explains that the Zone must be respected and the straightest path is not always the shortest path.
The Stalker tests for various "traps" by throwing metal nuts tied to strips of cloth ahead of them. He refers to a previous Stalker named "Porcupine", who had led his brother to his death in the Zone, visited the Room, come into possession of a large sum of money, and shortly afterwards committed suicide.
The Writer is skeptical of any real danger, but the Professor generally follows the Stalker's advice. As they travel, the three men discuss their reasons for wanting to visit the Room.
The Writer expresses his fear of losing his inspiration. The Professor seems less anxious, although he insists on carrying along a small backpack.
The Professor admits he hopes to win a Nobel Prize for scientific analysis of the Zone. The Stalker insists he has no motive beyond the altruistic aim of aiding the desperate to their desires.
After traveling through the tunnels, the three finally reach their destination: a decayed and decrepit industrial building.
In a small antechamber, a phone rings. The surprised Professor decides to use the phone to telephone a colleague.
As the trio approach the Room, the Professor reveals his true intentions in undertaking the journey. The Professor has brought a kiloton bomb comparable to the Nagasaki nuclear bomb with him, and he intends to destroy the Room to prevent its use by evil men.
The three men enter a physical and verbal standoff just outside the Room that leaves them exhausted. The Writer realizes that when Porcupine met his goal, despite his conscious motives, the room fulfilled Porcupine's secret desire for wealth rather than bring back his brother from death.
This prompted the guilt-ridden Porcupine to commit suicide. The Writer tells them that no one in the whole world is able to know their true desires and as such it is impossible to use the Room for selfish reasons.
The Professor gives up on his plan of destroying the Room. Instead, he disassembles his bomb and scatters its pieces.
No one attempts to enter the Room. The Stalker, the Writer, and the Professor are met back at the bar by the Stalker's wife and daughter.
After returning home, the Stalker tells his wife how humanity has lost its faith and belief needed for both traversing the Zone and living a good life.
As the Stalker sleeps, his wife contemplates their relationship in a monologue delivered directly to the camera. In the last scene Martyshka, the couple's deformed daughter, sits alone in the kitchen reading as a love poem by Fyodor Tyutchev is recited.
She appears to use psychokinesis to push three drinking glasses across the table. A train passes by where the Stalker's family lives, and the entire apartment shakes.
After reading the novel, Roadside Picnic , by Boris and Arkady Strugatsky , Tarkovsky initially recommended it to a friend, the film director Mikhail Kalatozov , thinking Kalatozov might be interested in adapting it into a film.
Kalatozov abandoned the project when he could not obtain the rights to the novel. Tarkovsky then became very interested in adapting the novel and expanding its concepts.
He hoped it would allow him to make a film which conforms to the classical Aristotelian unity ; a single action, on a single location, within 24 hours single point in time.
Tarkovsky viewed the idea of the Zone as a dramatic tool to draw out the personalities of the three protagonists, particularly the psychological damage from everything that happens to the idealistic views of the Stalker as he finds himself unable to make others happy:.
The film departs considerably from the novel. According to an interview with Tarkovsky in , the film has basically nothing in common with the novel except for the two words "Stalker" and "Zone".
Yet, several similarities remain between the novel and the film. In both works, the Zone is guarded by a police or military guard, apparently authorized to use deadly force.
The Stalker in both works tests the safety of his path by tossing nuts and bolts tied with scraps of cloth, verifying that gravity is working as usual.
In the novel, frequent visits to the Zone increase the likelihood of abnormalities in the visitor's offspring.
In the book, the Stalker's daughter has light hair all over her body, while in the film she is crippled. Neither in the novel nor in the film do the women enter the Zone.
Finally, the target of the expedition in both works is a wish-granting device. In Roadside Picnic , the site was specifically described as the site of alien visitation; the name of the novel derives from a metaphor proposed by a character who compares the visit to a roadside picnic.
The closing monologue by the Stalker's wife at the end of the film has no equivalent in the novel. An early draft of the screenplay was published as a novel Stalker that differs substantially from the finished film.
However, when the crew returned to Moscow , they found that all of the film had been improperly developed and their footage was unusable.
The film had been shot on new Kodak stock with which Soviet laboratories were not very familiar. After seeing the poorly developed material, Tarkovsky fired Rerberg.
By the time the film stock defect was discovered, Tarkovsky had shot all the outdoor scenes and had to abandon them.
Safiullin contends that Tarkovsky was so despondent that he wanted to abandon further work on the film. After the loss of the film stock, the Soviet film boards wanted to shut the film down, but Tarkovsky came up with a solution: he asked to be allowed to make a two-part film, which meant additional deadlines and more funds.
Tarkovsky ended up reshooting almost all of the film with a new cinematographer, Alexander Knyazhinsky. According to Safiullin, the finished version of Stalker is completely different from the one Tarkovsky originally shot.
Rerberg felt that Tarkovsky was not ready for this script. He told Tarkovsky to rewrite the script in order to achieve a good result.
Tarkovsky ignored him and continued shooting. After several arguments, Tarkovsky sent Rerberg home.
People who have seen both the first version shot by Rerberg as Director of Photography and the final theatrical release say that they are almost identical.
Tarkovsky sent home other crew members in addition to Rerberg, excluding them from the credits, as well. The central part of the film, in which the characters travel within the Zone, was shot in a few days at two deserted hydro power plants on the Jägala river near Tallinn , Estonia.
Some shots within the Zone were filmed in Maardu , next to the Iru power plant , while the shot with the gates to the Zone was filmed in Lasnamäe , next to Punane Street behind the Idakeskus.
Other shots were filmed near the Tallinn—Narva highway bridge on the Pirita River. Several people involved in the film production, including Tarkovsky, died from causes that some crew members attributed to the film's long shooting schedule in toxic locations.
Sound designer Vladimir Sharun recalled:. Up the river was a chemical plant and it poured out poisonous liquids downstream. There is even this shot in Stalker: snow falling in the summer and white foam floating down the river.
In fact it was some horrible poison. Many women in our crew got allergic reactions on their faces. Tarkovsky died from cancer of the right bronchial tube.
And Tolya Solonitsyn too. That it was all connected to the location shooting for Stalker became clear to me when Larisa Tarkovskaya died from the same illness in Paris.
Like Tarkovsky's other films, Stalker relies on long takes with slow, subtle camera movement, rejecting the use of rapid montage.
The film contains shots in minutes, with an average shot length of more than one minute and many shots lasting for more than four minutes.
The Stalker film score was composed by Eduard Artemyev , who had also composed the scores for Tarkovsky's previous films Solaris and The Mirror.
For Stalker , Artemyev composed and recorded two different versions of the score. The first score was done with an orchestra alone but was rejected by Tarkovsky.
The second score that was used in the final film was created on a synthesizer along with traditional instruments that were manipulated using sound effects.
In the final film score, the boundaries between music and sound were blurred, as natural sounds and music interact to the point where they are indistinguishable.
In fact, many of the natural sounds were not production sounds but were created by Artemyev on his synthesizer. For Tarkovsky, music was more than just a parallel illustration of the visual image.
He believed that music distorts and changes the emotional tone of a visual image while not changing the meaning. He also believed that in a film with complete theoretical consistency music will have no place and that instead music is replaced by sounds.
According to Tarkovsky, he aimed at this consistency and moved into this direction in Stalker and Nostalghia. In addition to the original monophonic soundtrack, the Russian Cinema Council Ruscico created an alternative 5.
Music was added to the scene where the three are traveling to the Zone on a motorized draisine. In the opening and the final scene Beethoven's Ninth Symphony was removed and in the opening scene in Stalker's house ambient sounds were added, changing the original soundtrack, in which this scene was completely silent except for the sound of a train.
Initially, Tarkovsky had no clear understanding of the musical atmosphere of the final film and only an approximate idea where in the film the music was to be.
Even after he had shot all the material he continued his search for the ideal film score, wanting a combination of Oriental and Western music.
In a conversation with Artemyev he explained that he needed music that reflects the idea that although the East and the West can coexist, they are not able to understand each other.
Artemyev proposed to try this idea with the motet Pulcherrima Rosa by an anonymous 14th century Italian composer dedicated to the Virgin Mary.
In its original form Tarkovsky did not perceive the motet as suitable for the film and asked Artemyev to give it an Oriental sound.
Later, Tarkovsky proposed to invite musicians from Armenia and Azerbaijan and to let them improvise on the melody of the motet.
A musician was invited from Azerbaijan who played the main melody on a tar based on mugham , accompanied by orchestral background music written by Artemyev.
Rethinking their approach, they finally found the solution in a theme that would create a state of inner calmness and inner satisfaction, or as Tarkovsky said "space frozen in a dynamic equilibrium".
Artemyev knew about a musical piece from Indian classical music where a prolonged and unchanged background tone is performed on a tambura.
As this gave Artemyev the impression of frozen space, he used this inspiration and created a background tone on his synthesizer similar to the background tone performed on the tambura.
The tar then improvised on the background sound, together with a flute as a European, Western instrument.
These effects included modulating the sound of the flute and lowering the speed of the tar, so that what Artemyev called "the life of one string" could be heard.
Tarkovsky was amazed by the result, especially liking the sound of the tar, and used the theme without any alterations in the film. The title sequence is accompanied by Artemyev's main theme.
The opening sequence of the film showing Stalker's room is mostly silent. Periodically one hears what could be a train.
The sound becomes louder and clearer over time until the sound and the vibrations of objects in the room give a sense of a train's passing by without the train's being visible.
This aural impression is quickly subverted by the muffled sound of Beethoven's Ninth Symphony. The source of this music is unclear, thus setting the tone for the blurring of reality in the film.
In an interview with Tonino Guerra in , Tarkovsky said that he wanted:. But this music must be barely heard beneath the noise, in a way that the spectator is not aware of it.
In one scene, the sound of a train becomes more and more distant as the sounds of a house, such as the creaking floor, water running through pipes, and the humming of a heater become more prominent in a way that psychologically shifts the audience.
The film loses a second star for the movie cover because it gives too much away. Otherwise a well written ,directed and acted film.
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Director: Martin Kemp. Added to Watchlist. Horror on Terabyte. Mental Maven. Share this Rating Title: Stalker 4. Use the HTML below. You must be a registered user to use the IMDb rating plugin.
Photos Add Image. Edit Cast Complete credited cast: Jane March Leo Fox Deo Simcox The Writer tells them that no one in the whole world is able to know their true desires and as such it is impossible to use the Room for selfish reasons.
The Professor gives up on his plan of destroying the Room. Instead, he disassembles his bomb and scatters its pieces.
No one attempts to enter the Room. The Stalker, the Writer, and the Professor are met back at the bar by the Stalker's wife and daughter.
After returning home, the Stalker tells his wife how humanity has lost its faith and belief needed for both traversing the Zone and living a good life.
As the Stalker sleeps, his wife contemplates their relationship in a monologue delivered directly to the camera.
In the last scene Martyshka, the couple's deformed daughter, sits alone in the kitchen reading as a love poem by Fyodor Tyutchev is recited.
She appears to use psychokinesis to push three drinking glasses across the table. A train passes by where the Stalker's family lives, and the entire apartment shakes.
After reading the novel, Roadside Picnic , by Boris and Arkady Strugatsky , Tarkovsky initially recommended it to a friend, the film director Mikhail Kalatozov , thinking Kalatozov might be interested in adapting it into a film.
Kalatozov abandoned the project when he could not obtain the rights to the novel. Tarkovsky then became very interested in adapting the novel and expanding its concepts.
He hoped it would allow him to make a film which conforms to the classical Aristotelian unity ; a single action, on a single location, within 24 hours single point in time.
Tarkovsky viewed the idea of the Zone as a dramatic tool to draw out the personalities of the three protagonists, particularly the psychological damage from everything that happens to the idealistic views of the Stalker as he finds himself unable to make others happy:.
The film departs considerably from the novel. According to an interview with Tarkovsky in , the film has basically nothing in common with the novel except for the two words "Stalker" and "Zone".
Yet, several similarities remain between the novel and the film. In both works, the Zone is guarded by a police or military guard, apparently authorized to use deadly force.
The Stalker in both works tests the safety of his path by tossing nuts and bolts tied with scraps of cloth, verifying that gravity is working as usual.
In the novel, frequent visits to the Zone increase the likelihood of abnormalities in the visitor's offspring. In the book, the Stalker's daughter has light hair all over her body, while in the film she is crippled.
Neither in the novel nor in the film do the women enter the Zone. Finally, the target of the expedition in both works is a wish-granting device.
In Roadside Picnic , the site was specifically described as the site of alien visitation; the name of the novel derives from a metaphor proposed by a character who compares the visit to a roadside picnic.
The closing monologue by the Stalker's wife at the end of the film has no equivalent in the novel. An early draft of the screenplay was published as a novel Stalker that differs substantially from the finished film.
However, when the crew returned to Moscow , they found that all of the film had been improperly developed and their footage was unusable.
The film had been shot on new Kodak stock with which Soviet laboratories were not very familiar. After seeing the poorly developed material, Tarkovsky fired Rerberg.
By the time the film stock defect was discovered, Tarkovsky had shot all the outdoor scenes and had to abandon them.
Safiullin contends that Tarkovsky was so despondent that he wanted to abandon further work on the film. After the loss of the film stock, the Soviet film boards wanted to shut the film down, but Tarkovsky came up with a solution: he asked to be allowed to make a two-part film, which meant additional deadlines and more funds.
Tarkovsky ended up reshooting almost all of the film with a new cinematographer, Alexander Knyazhinsky. According to Safiullin, the finished version of Stalker is completely different from the one Tarkovsky originally shot.
Rerberg felt that Tarkovsky was not ready for this script. He told Tarkovsky to rewrite the script in order to achieve a good result.
Tarkovsky ignored him and continued shooting. After several arguments, Tarkovsky sent Rerberg home. People who have seen both the first version shot by Rerberg as Director of Photography and the final theatrical release say that they are almost identical.
Tarkovsky sent home other crew members in addition to Rerberg, excluding them from the credits, as well. The central part of the film, in which the characters travel within the Zone, was shot in a few days at two deserted hydro power plants on the Jägala river near Tallinn , Estonia.
Some shots within the Zone were filmed in Maardu , next to the Iru power plant , while the shot with the gates to the Zone was filmed in Lasnamäe , next to Punane Street behind the Idakeskus.
Other shots were filmed near the Tallinn—Narva highway bridge on the Pirita River. Several people involved in the film production, including Tarkovsky, died from causes that some crew members attributed to the film's long shooting schedule in toxic locations.
Sound designer Vladimir Sharun recalled:. Up the river was a chemical plant and it poured out poisonous liquids downstream. There is even this shot in Stalker: snow falling in the summer and white foam floating down the river.
In fact it was some horrible poison. Many women in our crew got allergic reactions on their faces. Tarkovsky died from cancer of the right bronchial tube.
And Tolya Solonitsyn too. That it was all connected to the location shooting for Stalker became clear to me when Larisa Tarkovskaya died from the same illness in Paris.
Like Tarkovsky's other films, Stalker relies on long takes with slow, subtle camera movement, rejecting the use of rapid montage.
The film contains shots in minutes, with an average shot length of more than one minute and many shots lasting for more than four minutes. The Stalker film score was composed by Eduard Artemyev , who had also composed the scores for Tarkovsky's previous films Solaris and The Mirror.
For Stalker , Artemyev composed and recorded two different versions of the score. The first score was done with an orchestra alone but was rejected by Tarkovsky.
The second score that was used in the final film was created on a synthesizer along with traditional instruments that were manipulated using sound effects.
In the final film score, the boundaries between music and sound were blurred, as natural sounds and music interact to the point where they are indistinguishable.
In fact, many of the natural sounds were not production sounds but were created by Artemyev on his synthesizer. For Tarkovsky, music was more than just a parallel illustration of the visual image.
He believed that music distorts and changes the emotional tone of a visual image while not changing the meaning. He also believed that in a film with complete theoretical consistency music will have no place and that instead music is replaced by sounds.
According to Tarkovsky, he aimed at this consistency and moved into this direction in Stalker and Nostalghia.
In addition to the original monophonic soundtrack, the Russian Cinema Council Ruscico created an alternative 5.
Music was added to the scene where the three are traveling to the Zone on a motorized draisine. In the opening and the final scene Beethoven's Ninth Symphony was removed and in the opening scene in Stalker's house ambient sounds were added, changing the original soundtrack, in which this scene was completely silent except for the sound of a train.
Initially, Tarkovsky had no clear understanding of the musical atmosphere of the final film and only an approximate idea where in the film the music was to be.
Even after he had shot all the material he continued his search for the ideal film score, wanting a combination of Oriental and Western music.
In a conversation with Artemyev he explained that he needed music that reflects the idea that although the East and the West can coexist, they are not able to understand each other.
Artemyev proposed to try this idea with the motet Pulcherrima Rosa by an anonymous 14th century Italian composer dedicated to the Virgin Mary.
In its original form Tarkovsky did not perceive the motet as suitable for the film and asked Artemyev to give it an Oriental sound. Later, Tarkovsky proposed to invite musicians from Armenia and Azerbaijan and to let them improvise on the melody of the motet.
A musician was invited from Azerbaijan who played the main melody on a tar based on mugham , accompanied by orchestral background music written by Artemyev.
Rethinking their approach, they finally found the solution in a theme that would create a state of inner calmness and inner satisfaction, or as Tarkovsky said "space frozen in a dynamic equilibrium".
Artemyev knew about a musical piece from Indian classical music where a prolonged and unchanged background tone is performed on a tambura.
As this gave Artemyev the impression of frozen space, he used this inspiration and created a background tone on his synthesizer similar to the background tone performed on the tambura.
The tar then improvised on the background sound, together with a flute as a European, Western instrument. These effects included modulating the sound of the flute and lowering the speed of the tar, so that what Artemyev called "the life of one string" could be heard.
Tarkovsky was amazed by the result, especially liking the sound of the tar, and used the theme without any alterations in the film.
The title sequence is accompanied by Artemyev's main theme. The opening sequence of the film showing Stalker's room is mostly silent.
Periodically one hears what could be a train. The sound becomes louder and clearer over time until the sound and the vibrations of objects in the room give a sense of a train's passing by without the train's being visible.
This aural impression is quickly subverted by the muffled sound of Beethoven's Ninth Symphony. The source of this music is unclear, thus setting the tone for the blurring of reality in the film.
In an interview with Tonino Guerra in , Tarkovsky said that he wanted:. But this music must be barely heard beneath the noise, in a way that the spectator is not aware of it.
In one scene, the sound of a train becomes more and more distant as the sounds of a house, such as the creaking floor, water running through pipes, and the humming of a heater become more prominent in a way that psychologically shifts the audience.
While the Stalker leaves his house and wanders around an industrial landscape, the audience hears industrial sounds such as train whistles, ship foghorns, and train wheels.
When the Stalker, the Writer, and the Professor set off from the bar in an off-road vehicle, the engine noise merges into an electronic tone.
The natural sound of the engine falls off as the vehicle reaches the horizon. Initially almost inaudible, the electronic tone emerges and replaces the engine sound as if time has frozen.
The journey to the Zone on a motorized draisine features a disconnection between the visual image and the sound.
The presence of the draisine is registered only through the clanking sound of the wheels on the tracks.
Neither the draisine nor the scenery passing by is shown, since the camera is focused on the faces of the characters. This disconnection draws the audience into the inner world of the characters and transforms the physical journey into an inner journey.
This effect on the audience is reinforced by Artemyev's synthesizer effects, which make the clanking wheels sound less and less natural as the journey progresses.
When the three arrive in the Zone initially, it appears to be silent. Only after some time, and only slightly audibly can one hear the sound of a distant river, the sound of the blowing wind, or the occasional cry of an animal.
These sounds grow richer and more audible while the Stalker makes his first venture into the Zone, initially leaving the professor and the writer behind, and as if the sound draws him towards the Zone.
The sparseness of sounds in the Zone draws attention to specific sounds, which, as in other scenes, are largely disconnected from the visual image.
Animals can be heard in the distance but are never shown. A breeze can be heard, but no visual reference is shown.
This effect is reinforced by occasional synthesizer effects which meld with the natural sounds and blur the boundaries between artificial and alien sounds and the sounds of nature.
After the three travelers appear from the tunnel, the sound of dripping water can be heard. While the camera slowly pans to the right, a waterfall appears.
While the visual transition of the panning shot is slow, the aural transition is sudden. As soon as the waterfall appears, the sound of the dripping water falls off while the thundering sound of the waterfall emerges, almost as if time has jumped.
In the next scene Tarkovsky again uses the technique of disconnecting sound and visual image. While the camera pans over the burning ashes of a fire and over some water, the audience hears the conversation of the Stalker and the Writer who are back in the tunnel looking for the professor.
Finding the Professor outside, the three are surprised to realize that they have ended up at an earlier point in time.
Stalker Film Inhaltsverzeichnis
Aber Soy Luna Folge 121 der Stalker selbst hat seine Gründe, an diesen Ort zu gehen. Aufgrund von Tarkowskis ambivalenter Themenwahl besitzen seine Klassiker eine zeitlose Gültigkeit. Die eigenwillige Ästhetik seiner Filmsprache, die sich jedem oberflächlichen Realismus verweigerte, nötigte Tarkowskij zur Sanitarium Film aus der Sowjetunion. So erhielt ein Mann, der seinen Bruder Jere Burns Geldgier in den Tod schickte, nicht wie gewünscht seinen Bruder zurück, sondern noch mehr Geld, Ndr Mediathek Tatortreiniger ihn in den Selbstmord trieb. THX Mp4-12c Freitag,
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