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-	{{Template}}	+	{{Template}}In a [[film theory]] context, the term '''oneiric''' (which means "pertaining to [[dreams|dream]]") is used to refer the depiction of dream-like states in films, or to the use of the metaphor of a dream or the dream-state to analyze a film. The connection between dreams and films has been long established; "The dream factory" “...has become a household expression for the film industry”. The dream metaphor for film viewing is “one of the most persistent metaphors in both classical and modern film theory”, and it is used by film theorists using Freudian, non-Freudian, and semiotic analytical frameworks.
-	In a [[film theory]] context, the term '''oneiric''' (which means "pertaining to [[dreams|dream]]") is used to refer the depiction of dream-like states in films, or to the use of the metaphor of a dream or the dream-state to analyze a film. The connection between dreams and films has been long established; "The dream factory" “...has become a household expression for the film industry”<ref>Marinelli, Lydia "Screening Wish Theories: Dream Psychologies and Early Cinema." Science in Context (2006), 19: 87-110</ref>. The dream metaphor for film viewing is “one of the most persistent metaphors in both classical and modern film theory”<ref>Laura Rascaroli. ''Like a Dream: A Critical History of the Oneiric Metaphor in Film Theory.'' Fall 2002. http://www.kinema.uwaterloo.ca/rasc022.htm</ref>, and it is used by film theorists using Freudian, non-Freudian, and semiotic analytical frameworks.	+
-	Filmmakers noted for their use of oneiric or dreamlike elements in their films include [[Luis Buñuel]] <ref>Reia-Baptista, Vitor. THE HERETICAL PEDAGOGY OF LUIS BUÑUEL: a study of the pedagogical character of the heresies and moralities in the cinema of Luis Buñuel. Spring, 1987 http://72.14.205.104/search?q=cache:hzcEVwuecHwJ:www.bocc.ubi.pt/pag/_texto.php</ref>, [[Wojciech Has]] <ref>University of Florida Professor Chris Caes’ ENG 4133 course on Polish Science Fiction and Fantasy – Films, Fiction, Artwork refers to Has as an oneiric filmmaker. Course description available at: http://web.english.ufl.edu/courses/undergrad/2005fall_up-d.html	+	Filmmakers noted for their use of oneiric or dreamlike elements in their films include [[Luis Buñuel]], [[Wojciech Has]], [[Andrei Tarkovsky]], [[Lars von Trier]], [[Krzysztof Kieslowski]] (e.g., ''[[The Double Life of Véronique]]'' from 1991) and [[David Lynch]] (e.g., ''[[Mulholland Drive (film)|Mulholland Drive]]''). Film genres or styles noted for their use of oneiric elements include 1940s and 1950s [[film noir]] and [[surrealism|surrealist film]]s; moreover, oneiric elements have also been noted in [[musical film|musical]]s, thriller and [[horror film]]s and in comic films such as [[Marx Brothers]] movies. The French surrealist playwright and director [[Antonin Artaud]] argued that the American [[burlesque]] genre, with its bizarre, lush costumes, and its mixture of dancing girls, comedians, mime artists and striptease artists, has oneiric qualities.
-	</ref>, [[Andrei Tarkovsky]] <ref>Petric, Vlada. 'Tarkovski's Dream Imagery', Film Quarterly, v. 43, 2 (Winter 89/90), pp. 28-34.</ref> , [[Lars von Trier]] <ref>Lars von Trier	+	{{GFDL}}
-	by Jack Stevenson (London: BFI Publications, 2002) Book Review by Mette Hjort, which states that “von Trier's first feature, the haunting and oneiric film noir entitled The Element of Crime (1984), won the Prix Technique at Cannes in 1984". Available at: http://www.sensesofcinema.com/contents/books/03/24/von_trier.html</ref> [[Krzysztof Kieslowski]] (e.g., ''[[The Double Life of Véronique]]'' from 1991)	+
-	<ref>Corin Depper of the University of East Anglia, UK calls Kieslowski's ''[[The Double Life of Véronique]]'' "swooningly oneiric" in Depper's review of ''The Films of Krzysztof Kieslowski: The Liminal Image,'' by Joseph G. Kickasola. Continuum: New York, 2004. ISBN 0-8264-1559-8. 332pp. £12.99. Depper's review is in ''Scope'' a peer-reviewed online journal of the Institute of Film & Television Studies at the University of Nottingham. Available at: http://72.14.205.104/search?q=cache:idE1HyO1SWoJ:www.scope.nottingham.ac.uk/bookreview.php%3Fissue%3D4%26id%3D102+filmmakers+oneiric&hl=en&ct=clnk&cd=35</ref>and [[David Lynch]] (e.g., ''[[Mulholland Drive (film)|Mulholland Drive]]'')<ref> Bulkeley, Kelly "Dreaming and the cinema of David Lynch." Dreaming. Vol 13(1), Mar 2003, pp. 49-60.</ref>. Film genres or styles noted for their use of oneiric elements include 1940s and 1950s [[film noir]] and [[surrealism|surrealist film]]s; moreover, oneiric elements have also been noted in [[musical film|musical]]s, thriller and [[horror film]]s and in comic films such as [[Marx Brothers]] movies <ref>Ado Kyrou. ''Le surréalisme au cinéma'' (1963), cited by Laura Rascaroli in ''Like a Dream: A Critical History of the Oneiric Metaphor	+
-	in Film Theory''. Fall 2002. http://www.kinema.uwaterloo.ca/rasc022.htm</ref>. The French surrealist playwright and director [[Antonin Artaud]] argued that the American [[burlesque]] genre, with its bizarre, lush costumes, and its mixture of dancing girls, comedians, mime artists and striptease artists, has oneiric qualities<ref>Laura Rascaroli. ''Like a Dream: A Critical History of the Oneiric Metaphor in Film Theory.'' Fall 2002. http://www.kinema.uwaterloo.ca/rasc022.htm</ref>.{{GFDL}}	+

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In a film theory context, the term oneiric (which means "pertaining to dream") is used to refer the depiction of dream-like states in films, or to the use of the metaphor of a dream or the dream-state to analyze a film. The connection between dreams and films has been long established; "The dream factory" “...has become a household expression for the film industry”. The dream metaphor for film viewing is “one of the most persistent metaphors in both classical and modern film theory”, and it is used by film theorists using Freudian, non-Freudian, and semiotic analytical frameworks.

Filmmakers noted for their use of oneiric or dreamlike elements in their films include Luis Buñuel, Wojciech Has, Andrei Tarkovsky, Lars von Trier, Krzysztof Kieslowski (e.g., The Double Life of Véronique from 1991) and David Lynch (e.g., Mulholland Drive). Film genres or styles noted for their use of oneiric elements include 1940s and 1950s film noir and surrealist films; moreover, oneiric elements have also been noted in musicals, thriller and horror films and in comic films such as Marx Brothers movies. The French surrealist playwright and director Antonin Artaud argued that the American burlesque genre, with its bizarre, lush costumes, and its mixture of dancing girls, comedians, mime artists and striptease artists, has oneiric qualities.