A Study On The Audiovisual Language Of Andre Tarkovsky 's Films

Andrei Tarkovsky, an famous director in the former Soviet Union, is a leading figure in modern films. He is renowned for his unique philosophy about films and productions embodying his notable idiosyncrasies. This paper which is divided into nine parts attempts to explore the audio-visual language in the seven and a half films left by the director combining his philosophy about films.The first part is the introduction,mainly stated the research background of this topic, research objectives, research contents, research methods and ideas, research significance and research innovation.The second partis a literature review. First I give a general introduction to the notion of the audio-visual language,then from the related research of audio-visual language and tower, the related studies these two aspects to summarize and summary.The third partmainly describesAndrei Tarkovsky’s life and the seven and a half films left by the director.The fourth part illustrates Andrei Tarkovsky’s philosophy on films from the following three aspects:sculpting in time, poem film and film auteur. Andrei Tarkovsky believes that films as a type of image poetics have independent aesthetic nature which lies in authentically recording the passage of time. He focuses on the authenticity of poetic films and regards poetry as the reflection of the reality and heart, the externalization of the spirit. The poetics of image refers to the ultimate state of arts and philosophy—the truth. Therefore, conclusion may be drawn that actualization is the way of expressing authenticity in Andrei Tarkovsky’s poetic image, while truthfulness is the essential pursuit of that authenticity.Thefifth part explains the style of Andrei Tarkovsky’s films from four respects: philosophical meaning, blankness in the plot, non-linear narration and gel atmosphere. The philosophical theme of the film is subjective to the poetic concept of truthfulness and philosophy; non-linear narration is determined by Andrei Tarkovsky’s sculpting in time that "touches the heart" ; metaphorical details is a way of enriching the philosophical theme; and the gel tempo is presented through the moderate and profound long lens which is also closely related to the concept of sculpting in time. It is safe to say that the fundamental characteristics of Andrei Tarkovsky’s films can be traced back to the previous article about Andrei Tarkovsky’s philosophy on films.The sixth part summarizes the basic characteristics of audio-visual language in Andrei Tarkovsky’s films based on his philosophy and puts them into two categories, that is, poetic and documentary. The uniqueness of his philosophy on films results in the style of the films and the fundamental characteristics of the language, in which the philosophy of "poetic films" determines the poetics in language and the documentary style is more often than not determined by "sculpting in time" while at the same time influenced by the authenticity of poetic images.Theseventh part which is the core part of this paper gives a detailed analysis of Andrei Tarkovsky’s audio-visual language from five aspects including color and lights and shadows, space composition, camera lens, sound and semiotic symbols. Andrei Tarkovsky pays special attention to the form of expression in audio-visual language and seeks to achieve the harmony between content and form.The eighth part is toldl about the enlightenment. mainly statedthe valueof Tarkovsky’s movie audio-visual language,the artist’s mission and responsibility, the enlightenment to the present film these three aspects.The ninth part comes to the conclusion, summarizing the artistic features of Andrei Tarkovsky’s films as well as his significance in the history of films in the world.