By James Walters
Using exchange realities in cinema has been dropped at new heights via such contemporary movies as Eternal Sunshine of the Spotless brain and Donnie Darko. Alternative Worlds in Hollywood Cinema is the 1st publication to research those imaginary nation-states, tracing their development and improvement throughout classes, genres, and history.
Through an research of such landmark movies as The Wizard of Oz, Vanilla Sky, and Back to the Future, James Walters unearths how unconventional worlds are an important to every film’s dramatic schedule and narrative constitution. This groundbreaking quantity unifies a long time of divergent paintings via movie students and issues the best way in the direction of a brand new theoretical framework for figuring out delusion within the context of well known movie. Alternative Worlds in Hollywood Cinema will be a vital source for movie stories students and film buffs alike. “The e-book is especially readable . . . a major sector of movie learn. the main unique features of the ebook 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
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.
However, even though the narratives of films can involve alternative worlds, those distinct worlds still exist in one, over-arching, fictional world: the world of the film. To suggest otherwise would be absurd: no film can overreach the confines of its own world; it refers to elements outside of the world it presents, but in doing so incorporates them into its own world. In this sense, alternative world films – including those made in Hollywood – present heterogeneous narrative worlds within a homogenous cinematic world.
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. 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.
Alternative Worlds in Hollywood Cinema by James Walters