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Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film's aesthetics and function, this book reads the writing, films, and art of Luis Buñuel, Salvador Dalí, Man Ray, André Breton, André Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell and recognizes their significance for the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese Ring (1998); and a YouTube channel devoted to Rock Hudson. Offering a positive alternative to cinema's perceived crisis of realism, this innovative study enriches the meaning of cinematic spectatorship in the twenty-first century.
Films with dream sequences, or a dreamlike quality, allow directors to create their own rules of logic and nature to meet a variety of artistic needs. For instance, an opening dream immediately establishes what a character is feeling; a later dream--or series of them--provides viewers with a glimpse of the climax, and a concluding dream ties up loose ends. (In real life, of course, dreams do not occur at such convenient times or serve such useful purposes.) This book explores why science is lost or distorted in the process of representing dreams on film and why audiences prefer this figurative truth of art over the literal truth of science. Part One discusses changes in form and considers the history of dream theory. Additionally, the physiology of sleeping and dreaming, dream structure, sleep deprivation, dreams under the influence of drugs or alcohol, and waking up, as depicted on film, are examined. Part Two investigates changes in content, and delves into the psychology of sleeping and dreaming, dream interpretation, altered states of consciousness, visions and prophecies, dreams as wish fulfillment, sex and death, nightmares, and reality versus illusion. The author uses theories by Freud, Jung, and current experts in her analyses of dream sequences and their use in film.
Film and the Dream Screen by Robert T. Eberwein Pdf
Robert T. Eberwein uses a hypothesis from psychoanalytic theory to explore the frequently noticed similarity between dreaming and watching a film. His comprehensive study of the relationship between films and dreams explains the film screen as a psychic structure. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author : Paul Young Publisher : U of Minnesota Press Page : 350 pages File Size : 50,9 Mb Release : 2006 Category : Performing Arts ISBN : 9780816635993
"In these engaging, challenging and beguiling dialogues, Pamela Cohn expertly draws from her subjects, personal biography and conceptual intent, process and nearly subconscious motivation, personal revelation and political mission. The result is a work that not only provides a road map to the furthest regions of cinematic possibility in the early 21st century but one whose spirited back-and-forth inspires the reader to think anew about artistic possibility." —Scott Macaulay, editor-in-chief of Filmmaker Magazine “Pamela Cohn has curated and conducted a series of interviews that simultaneously invite you to turn the page, and pause for a moment of reverie. Her interviews furrow the grounds where sensibilities become cinema, and attitudes become forms." —Luke Moody Lucid Dreaming is an unprecedented global collection of discussions with documentary and experimental filmmakers, giving film and video its rightful place alongside the written word as an essential medium for conveying the most urgent concerns in contemporary arts and politics. In these long-form conversations, film curator and arts journalist Cohn draws out the thinking of some of the most intriguing creators behind the rapidly developing movement of moving-image nonfiction. The collection features individuals from a variety of backgrounds who encounter the world, as Cohn says, “through a creative lens based in documentary practice.” Their inspirations encompass queer politics, racism, identity politics, and activism. The featured artists come from a multiplicity of countries and cultures including the U.S., Finland, Serbia, Syria, Kosovo, China, Iran, and Australia. Among those Cohn profiles and converses with are Karim Aïnouz, Khalik Allah, Maja Borg, Ramona Diaz, Samira Elagoz, Sara Fattahi, Dónal Foreman, Ja’Tovia Gary, Ognjen Glavonic, Barbara Hammer, Sky Hopinka, Gürcan Keltek, Adam and Zack Khalil, Khavn, Kaltrina Krasniqi, Roberto Minervini, Terence Nance, Orwa Nyrabia, Chico Pereira, Michael Robinson, J. P. Sniadecki, Brett Story, Deborah Stratman, Maryam Tafakory, Mila Turajlic, Lynette Wallworth, Travis Wilkerson, and Shengze Zhu. Can nonfiction film be defined? How close to reality can or should documentary storytelling be, and is film and video in its less restrictive iterations “truer” than traditional narratives? How can a story be effectively conveyed? As they consider these and many other questions, these passionate, highly articulate filmmakers will inspire not only cinema enthusiasts, but activists and artists of all stripes.
One of the leading voices in cultural studies today examines the habits of British cinema audiences in the 1930s to reveal the role that cinema played in shaping their lives.
How is watching a movie similar to dreaming? What goes on in our minds when we become absorbed in a movie? How does looking “into” a movie screen allow us to experience the thoughts and feelings of a movie’s characters? These and related questions are at the heart of The Power of Movies, a thoughtful, invigorating, and remarkably accessible book about a phenomenon seemingly beyond reach of our understanding. Colin McGinn–“an ingenious philosopher who thinks like a laser and writes like a dream,” according to Steven Pinker–enhances our understanding of both movies and ourselves in this book of rare and refreshing insight.
The Cinema of David Lynch by Erica Sheen,Annette Davison Pdf
This is a study of one of Hollywood's most popular and critically acclaimed directors. Films discussed include 'Blue Velvet', 'Wild at Heart', 'The Straight Story' and 'Mulholland Drive'.
These two volumes have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism.
Films and Dreams considers the essential link between films and the world of dreams. To discuss dream theory in the context of film studies means moving from the original, clinical context within which dream theory was originally developed to an environment established by primarily aesthetic concerns. Botz-Bornstein deals with dreams as "self-sufficient" phenomena that are interesting not because of their contents but because of the "dreamtense" through which they deploy their being. A diverse selection of films are examined in this light: Tarkovsky's anti-realism exploring the domain of the improbable between symbolization, representation and alienation; Sokurov's subversive attacks on the modern image ideology; Arthur Schnitzler's shifting of thefamiliar to the uncanny and Kubrick's avoidance of this structural model in Eyes Wide Shut; and Wong Kar-Wai's dreamlike panorama of parodied capitalism.
Focused on a body of films bound together through a cinematic aesthetic of slowness, this book is a pioneering effort to situate, theorise and map out slow cinema within contemporary global film production and across world cinema history.
Vienna has been the locale for nearly one hundred and fifty films and television productions in English, from 1920s through the first years of this century, with imaginative representations of Freud, Strauss, Franz Josef, Mozart, Beethoven, and Klimt; mad scientists, assassins, spies, refugees, romantics, and American professors; historical dramas, cartoons, documentaries, and Hitchcock's only musical comedy. The "City of Dreams" has appeared as an imperial court, a center of scientific and medical research, a Jewish and Catholic homeland, a locus of international espionage and domestic crime, the destination for innocents abroad, the birthplace of the waltz, a stage for performances and performers, and the site for romantic rendezvous. For many in English-language audiences, such productions have constituted the most significant representations of Vienna, a city that historically has been the capital of one of Europe's largest empires, one of the most important centers for classical music and opera, both a victim and an accomplice of Nazi Germany, and the home of international diplomacy. Cultural historians and Austrian writers have provided significant commentary on the city, but their influence has seldom reached such an extensive audience as the films and television productions screening Vienna for English-language audiences. Screening Vienna thus analyzes the representation of Vienna and the Viennese in English-language film and television, reviews the critical reception of these productions, and measures the representations against the cultural and historical contexts and the writings of contemporary Austrian writers.The book is unique in its scope (over one hundred and fifty productions from the 1920s to 2013) and in its inclusion of leading reviews of many films, references to cultural and historical studies of Vienna, and references to modern and contemporary Austrian fiction.Thus the analysis is more extensive in its coverage and more intensive in its analysis of each film than any previous study, with a focus on scene, language, plot, characterization, and the reception of these films. Scholars and students in American cultural studies, film studies, Austrian and Viennese history, and popular culture will find the book informative and essential for studies of Vienna in the American and British imagination. Given the extensive coverage and filmography, many libraries should also view the book as a reference work, in addition to its status in cultural and film studies. The book will also be useful for film studies and American popular culture studies courses at advanced or graduate level.
Modern Romanian filmmaking has received wide international recognition. From 2001 to 2011, promising young filmmakers have been embraced as important members of European cinema. The country developed a new fervor for filmmaking and a dozen new movies have received international awards and recognition from some of the most important critics worldwide. This development, sometimes called "New Wave cinema," is fully explored in this book. By using a comparative approach and searching for similarities among cinematic styles and trends, the study reveals that the young Romanian directors are part of a larger, European, way of filmmaking. The discussion moves from specific themes, motifs and narratives to the philosophy of a whole generation, such as Cristi Puiu, Cristian Mungiu, Radu Muntean, Corneliu Porumboiu, Tudor Giurgiu, and others.
Author : Murray Pomerance Publisher : State University of New York Press Page : 276 pages File Size : 52,5 Mb Release : 2018-12-27 Category : Performing Arts ISBN : 9781438472096
Explores the director's repeated voyages into the dreamlike. A Dream of Hitchcock examines the recurring motif of the dream in Hitchcock’s work—dreamscapes, dream processes, the dream effect—by focusing on close readings of six celebrated but often misinterpreted films: Strangers on a Train, Rebecca, Saboteur, Rear Window, To Catch a Thief, and Family Plot. The Hitchcockian dream, as invoked here, is not so much a dream as it is a way of understanding, in its dramatic contexts, an “unearthly,” irrational quality in the filmmaker’s work. Rebecca revolves around problems of memory; To Catch a Thief around uncertainty; Saboteur around pungent aspiration; Family Plot around intuition; Rear Window around expansive imagination; and Strangers on a Train around delirious madness. All of these films enunciate the return of the past, the invocation of a boundary beyond which experience becomes unpredictable and uncertain, and the celebration of values that transcend narrative resolution. Murray Pomerance’s distinctive method for thinking through Hitchcock’s work allows these films to inform theorization, not the other way around. His original, provocative, and groundbreaking explorations point to the importance of fantasy, improbability, doubt disconcertion, hope, memory, intuition, and belief, through which the oneiric comes to the center of waking life. Murray Pomerance is an independent scholar living in Toronto. He has published dozens of volumes on cinema, including four books on Alfred Hitchcock: An Eye for Hitchcock, Alfred Hitchcock’s America, Marnie, and The Man Who Knew Too Much.
