Editorial
When The Rite of Spring premiered in Paris in 1913, it sparked a near-riot in the audience. The ballet's avant-garde music, with its jarring rhythms, dissonant harmonies, and unconventional structure, paired with the equally experimental choreography by Vaslav Nijinsky, broke away from the norms of classical ballet. Audiences were so shocked by this radical departure...
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Vol. 144 (April 2024)
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
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