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Record Nr. |
UNINA9910789016103321 |
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Autore |
Campora Matthew |
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Titolo |
Subjective realist cinema : from expressionism to Inception / / Matthew Campora |
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Pubbl/distr/stampa |
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New York, [New York] ; ; Oxford, [England] : , : Berghahn Books, , 2014 |
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©2014 |
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ISBN |
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Descrizione fisica |
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1 online resource (160 p.) |
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Disciplina |
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Soggetti |
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Motion pictures - Philosophy |
Subjectivity in motion pictures |
Realism in motion pictures |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes filmography, bibliographical references and index. |
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Nota di contenuto |
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Contents; Acknowledgments; Introduction; Three Periods of Narrative Experimentation; Multiform Narratives; Subjective Realism; 1. Complex Narratives; The New Hollywood and the Smart Film; New Hollywood Narration; Fragmented Narratives; Multi-strand Narratives; Multiform Narratives; Brazil; Puzzle Films; 2. Two Trajectories of the Cinema of Attractions; The Narrative Trajectory: Realism and Spectacle; The Avant-Garde Trajectory: Realism and Defamiliarization; 3. Subjective Realism and Multiform Narratives; Subjective Realism; Vertigo; The Fantastic; Wild Strawberries; 4. Mulholland Drive |
Expressionism and the Uncanny in Mulholland DriveThree Views; As Surrealist or Trance Film; As Fragmented, Subjective Realist Film; As Supernatural Film; It Is All an Illusion; 5. Memento; The Four Strands; Unreliable Narration; Disrupted Expectations; Subjective Realism; 6. Eternal Sunshine of the Spotless Mind; The Philosophy of Eternal Sunshine; Temporal Inversions; Subjective Realism; Sonic Metalepsis; The Marvelous Real; Conclusion; Filmography; Bibliography; Index |
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Sommario/riassunto |
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Subjective Realist Cinema looks at the fragmented narratives and multiple realities of a wide range of films that depict subjective experience and employ "subjective realist" narration, including recent examples such as Mulholland Drive, Memento, and Eternal Sunshine of |
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the Spotless Mind. The author proposes that an understanding of the narrative structures of these films, particularly their use of mixed and multiple realities, enhances viewers' enjoyment and comprehension of such films, and that such comprehension offers a key to understanding contempora |
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