Dreams on Film: The Cinematic Struggle Between Art and ScienceFilms 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. |
O que estão dizendo - Escrever uma resenha
Não encontramos nenhuma resenha nos lugares comuns.
Conteúdo
| 13 | |
| 21 | |
| 29 | |
Sleep Deprivation | 37 |
Dreams Under the Influence | 46 |
Waking Up | 54 |
Creative Differences Changes in Content | 65 |
Psychology of Sleeping and Dreaming | 67 |
Dream Themes Sex and Death | 114 |
Nightmares | 126 |
Dream Elements | 138 |
Dream Symbols | 147 |
Reality vs Illusion | 161 |
Conclusion | 178 |
Filmography | 181 |
Notes | 189 |
Dream Interpretation | 73 |
Altered States of Consciousness | 82 |
Visions and Prophesies | 92 |
Dreams as Wish Fulfillment | 103 |
Bibliography | 191 |
Index | 195 |
Outras edições - Ver todos
Dreams on Film: The Cinematic Struggle Between Art and Science Leslie Halpern Visualização de trechos - 2003 |
Termos e frases comuns
actually altered appear audience awakening becomes begins believe body brain cause characters color confused consciousness Cries and Whispers dead death Dement depiction describes director dream sequences dreamer dreams on film effects elements emotional experience experienced expressed eyes face falling fantasy fear feelings filmmakers final flashbacks Freud frightening function future hallucinations human ideas illusion images important interpretation John Jung keep lives logic meaning memories mind nature night nightmares NREM origin past play present problems produce psychological reality recall recurring REM sleep remains remember repressed reveal Robert Rock says scene scientific sexual share stage Stir of Echoes story Street studies symbolic tells theory tion Tippi Hedren truth turn unconscious usually visions waking Warner Bros wish fulfillment woman writes young
Passagens mais conhecidas
Página 51 - I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was; man is but an ass, if he go about to expound this dream.
Página 51 - If we shadows have offended, Think but this, and all is mended: That you have but slumbered here While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles, do not reprehend: If you pardon, we will mend.
Página 52 - IN Xanadu did Kubla Khan A stately pleasure-dome decree : Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. So twice five miles of fertile ground With walls and towers were girdled round : And there were gardens bright with sinuous rills Where blossomed many an incense-bearing tree ; And here were forests ancient as the hills, Enfolding sunny spots...
Página 25 - This preservation of favourable individual differences and variations, and the destruction of those which are injurious, I have called Natural Selection, or the Survival of the Fittest.
Página 144 - I've been telling you what we said - repeating the phrases we pronounced, - but what's the good? They were common everyday words, - the familiar, vague sounds exchanged on every waking day of life. But what of that? They had behind them, to my mind, the terrific suggestiveness of words heard in dreams, of phrases spoken in nightmares.
Página 1 - HAD I the heavens' embroidered cloths, Enwrought with golden and silver light, The blue and the dim and the dark cloths Of night and light and the half-light, I would spread the cloths under your feet: But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams.
Página 95 - When Joseph woke from sleep, he did as the angel of the Lord commanded him; he took his wife, 25 but knew her not until she had borne a son; and he called his name Jesus.
Página 74 - In the pages that follow I shall bring forward proof that there is a psychological technique which makes it possible to interpret dreams, and that, if that procedure is employed, every dream reveals itself as a psychical structure which has a meaning and which can be inserted at an assignable point in the mental activities of waking life.
Página 95 - Rise, take the child and his mother, and go to the land of Israel, for those who sought the child's life are dead.
Página 94 - Come now, let us kill him and throw him into one of the pits; then we shall say that a wild animal has devoured him, and we shall see what will become of his dreams.
Informações bibliográficas
| Título | Dreams on Film: The Cinematic Struggle Between Art and Science |
| Autor | Leslie Halpern |
| Edição | ilustrada |
| Editora | McFarland, 2010 |
| ISBN | 0786480769, 9780786480760 |
| Num. págs. | 209 páginas |
| Exportar citação | BiBTeX EndNote RefMan |