By James Walters
Using exchange realities in cinema has been dropped at new heights by way of such contemporary motion pictures as Eternal Sunshine of the Spotless brain and Donnie Darko. Alternative Worlds in Hollywood Cinema is the 1st e-book to research those imaginary geographical regions, tracing their development and improvement throughout classes, genres, and history.
Through an research of such landmark movies as The Wizard of Oz, Vanilla Sky, and Back to the Future, James Walters unearths how unconventional worlds are an important to every film’s dramatic time table and narrative constitution. This groundbreaking quantity unifies many years of divergent paintings by means of movie students and issues the way in which in the direction of a brand new theoretical framework for realizing fable within the context of well known movie. Alternative Worlds in Hollywood Cinema will be an important source for movie reviews students and film buffs alike. “The publication is particularly readable . . . an incredible region of movie learn. the main unique facets of the booklet are the shut readings of the movies mentioned and the way those readings cohere throughout a unmarried thesis.”—Pat Brereton, Dublin urban college, writer of Hollywood Utopia<I></I>
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Extra resources for Alternative Worlds in Hollywood Cinema
This, he sees, as Godard’s ‘counter-cinema’. 57 This statement also serves to reassert in emphatic terms the dichotomy that Wollen is keen to highlight: Godard versus the Hollywood cinema. It is not possible or necessary to address each of Wollen’s distinctions within the context of our discussion here but, keeping in mind my move towards a study of alternative worlds in films, we are bound to find ourselves drawn to Wollen’s concept of single diegesis versus multiple diegesis, and the ways in which he attributes one category to Hollywood cinema and one against it.
47. 33. ’ p. 23. 34. Ibid. p. 25. 35. Ibid. p. 26. 36. Ibid. p. 19. 37. Ibid. p. 17. 38. Ibid. p. 20. 39. Ibid. p. 19. 40. Ibid. p. 20. 41. Ibid. pp. 35–36 The use of ‘barrier’ here relates back to Cavell’s earlier terminology, rather than being a term offered in Perkins’ argument specifically. 42. Perkins Film as Film p. 63. 43. Ibid. 44. Ibid. p. 70. 45. Ibid. p. 122. 46. Ibid. pp. 122–123. 38 | alternative worlds in hollywood cinema 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58.
Imagined Worlds | 51 Spellbound The Persistence of Memory Thus, although it might be argued that the camera quite poorly reproduces the nature and quality of human sight through the use of drifting, fluid tracking shots and a series of zooms, this point-of-view style resists become disconcerting as it coheres with the odd, near-hallucinogenic composition of the imagined world as Ballantine remembers it (and as depicted in Dalí’s designs). Thus, as Hitchcock’s camera movement suggests mobility distinct from the restrictions of ordinary physical laws, such an occurrence does not present a challenge to our sense of coherence and conceivability as we watch the surrealistic dream images.