By James Walters
Using trade 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 research those imaginary geographical regions, tracing their development and improvement throughout sessions, 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 the most important to every film’s dramatic time table and narrative constitution. This groundbreaking quantity unifies many years of divergent paintings via 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 a vital source for movie experiences students and film buffs alike. “The publication is especially readable . . . an immense quarter of movie research. the main unique points of the booklet are the shut readings of the flicks mentioned and the way those readings cohere throughout a unmarried thesis.”—Pat Brereton, Dublin urban collage, writer of Hollywood Utopia<I></I>
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Additional info for Alternative Worlds in Hollywood Cinema
I would suggest that this is one of the lasting pleasures of such films, and that we may in fact welcome the challenge of further contemplation. 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.
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. 39). Thomas p. F. : Film Criticism and Interpretation’ Movie 34/35 pp. 1-6. This article is a partial response to a section of David Bordwell’s Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (London: Harvard University Press, 1989) in which Bordwell takes Dorothy’s statement ‘There’s no place like home’ to be the film’s defining message.
16. 30. Ibid. 31. Ibid. p. 22. 32. Singer p. 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.