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 the familiar 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.
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王家卫没有拿过奥斯卡是奥斯卡的遗憾。不想比,但李安真是艹不过,全方位意义上的
评分王家卫没有拿过奥斯卡是奥斯卡的遗憾。不想比,但李安真是艹不过,全方位意义上的
评分王家卫没有拿过奥斯卡是奥斯卡的遗憾。不想比,但李安真是艹不过,全方位意义上的
评分王家卫没有拿过奥斯卡是奥斯卡的遗憾。不想比,但李安真是艹不过,全方位意义上的
评分王家卫没有拿过奥斯卡是奥斯卡的遗憾。不想比,但李安真是艹不过,全方位意义上的
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