Alternative Worlds in Hollywood Cinema - download pdf or read online
By James Walters
Using exchange realities in cinema has been dropped at new heights by means of such contemporary movies as Eternal Sunshine of the Spotless brain and Donnie Darko. Alternative Worlds in Hollywood Cinema is the 1st booklet to investigate those imaginary geographical regions, tracing their development and improvement throughout classes, genres, and history.
Through an research of such landmark motion pictures as The Wizard of Oz, Vanilla Sky, and Back to the Future, James Walters finds how unconventional worlds are an important to every film’s dramatic schedule and narrative constitution. This groundbreaking quantity unifies many years of divergent paintings through movie students and issues the best way in the direction of a brand new theoretical framework for figuring out delusion within the context of renowned movie. Alternative Worlds in Hollywood Cinema will be an important source for movie reviews students and picture buffs alike. “The publication is especially readable . . . a major sector of movie examine. the main unique points of the publication 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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Additional resources for Alternative Worlds in Hollywood Cinema
68. Ibid. Ibid. p. 73. Hortense Powdermaker Hollywood: The Dream Factory Boston: Little Brown, 1950. Cavell p. 67. Thomas p. 102. Ibid. Ibid. p. 104. Ibid. ’ pp. 35–36. Establishing Contexts | 39 71. T homas p. 102. Further useful discussion of the sequence can be found in Charles Barr’s BFI Classic on the film (Charles Barr Vertigo London: BFI Publishing, 2002), William Rothman’s chapter on Vertigo in The “I” of the Camera (Cambridge: Cambridge University Press, 2004), or in Andrew Klevan’s Disclosure of the Everyday: Undramatic Achievement in Film (London: Flicks Books, 2000).
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. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. Ibid. p. 119 Ibid. p. 63 Ibid. p. 121 Ibid. ’ Although he invites any suggestion of a better word, worldhood certainly emphasises a definition of the fictional world as a world (p.
The following two chapters present case studies of films that contrast the real world with the world of a character’s imagination in ways similar to the films discussed here. The Woman in the Window and The Wizard of Oz, for example, create extended dream sequences like Sherlock Jr. and, although the characters do not dream of stepping into a film as Buster does, their dreams take the form of discrete, coherent narratives that have a stable plot and structure unlike the peculiar, volatile nature of real dreaming.
Alternative Worlds in Hollywood Cinema by James Walters