Oneiric (film theory)
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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. | 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. | ||
- | {{GFDL}} | + | References |
+ | *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 .{{GFDL}} |
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Filmmakers noted for their use of oneiric or dreamlike elements in their films include Luis Buñuel, Wojciech Has, the Marx Brothers, Andrei Tarkovsky, Lars von Trier, Krzysztof Kieslowski (e.g., The Double Life of Véronique) and David Lynch (e.g., Mulholland Drive). Film genres or styles noted for their use of oneiric elements include film noir and surrealist films.
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. References
- 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 .
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