By James Walters
Using exchange realities in cinema has been delivered to new heights through 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 nation-states, tracing their building 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 unearths how unconventional worlds are the most important to every film’s dramatic schedule and narrative constitution. This groundbreaking quantity unifies a long time 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 a necessary source for movie stories students and film buffs alike. “The ebook is especially readable . . . a major sector 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 college, writer of Hollywood Utopia<I></I>
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Extra resources for Alternative Worlds in Hollywood Cinema
The Hollywood musical would thus seem well suited in nature to the placement of another, more stylized, fictional world in its narrative. So Feuer is able to pair the unreal world – the dream world – with the genre of film-making she analyses. When addressing Wollen’s argument, Feuer in fact sees a correlation between the Hollywood musical and the cinema that Wollen champions (the cinema that Godard is Establishing Contexts | 31 associated with) in stating that: ‘Both the Hollywood musical and the modernist cinema use dual worlds to mirror within the film the relationship of the spectator to the film.
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.
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. 48. 49. 50. 51. 52. 53.
Alternative Worlds in Hollywood Cinema by James Walters