Oneiric (film theory)
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| - | * ''[[Borowczyk: Cinéaste onirique]]'' (1981), with a foreword by [[André Pieyre de Mandiargues]]. ISBN 2865930017 | + | * ''[[Borowczyk: Cinéaste onirique]]'' (1981) |
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"In terms of film illusion, transcendence involves a spiritual passage from the physicality of a seat in a darkened theater to the physicality of an imaginary time-space continuum, whether devised by Walt Disney or Michael Snow, Roberto Rossellini or Russ Meyer." --Midnight Movies (1983), page 15-16 "The dream sequence in The Science of Sleep in which Stéphane's hands become giant was inspired by a recurring nightmare director Michel Gondry frequently had as a child."--Sholem Stein |
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In film theory, the term oneiric refers to the depiction of dream-like states or to the use of the metaphor of a dream or the dream-state in the analysis of a film. The term comes from the Greek Óneiros, the personification of dreams.
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History
Early film theorists such as Ricciotto Canudo (1879–1923) and Jean Epstein (1897–1953) argued that films had a dreamlike quality. Films and dreams are also connected in psychological analysis by examining the relationship between the cinema screening process and the spectator (who is perceived as passive). Roland Barthes, a French literary critic and semiotician, described film spectators as being in a "para-oneiric" state, feeling "sleepy and drowsy as if they had just woken up" when a film ends. Similarly, the French surrealist André Breton argues that film viewers enter a state between being "awake and falling asleep", what French filmmaker René Clair called a "dreamlike state". Jean Mitry's first volume of Esthétique et psychologie du cinéma (1963) also discuss the connection between films and the dream state.
Filmmakers
Filmmakers described as using oneiric or dreamlike elements in their films include:
- Sergei Parajanov (e.g., Shadows of Forgotten Ancestors)
- David Lynch (e.g., Twin Peaks, Mulholland Drive)
- Andrei Tarkovsky (e.g. Andrei Rublev, Solaris)
- Stan Brakhage (e.g., Dog Star Man)
- Michelangelo Antonioni (e.g. The Passenger, Zabriskie Point)
- Jaromil Jireš (e.g., Valerie and Her Week of Wonders)
- Krzysztof Kieslowski (e.g. The Double Life of Veronique)
- Federico Fellini (e.g., Amarcord)
- Francis Ford Coppola (e.g., Apocalypse Now)
- Ingmar Bergman (e.g., Wild Strawberries)
- Jean Cocteau (e.g., Orphic Trilogy)
- Gaspar Noé (e.g. Enter the Void, Love, Climax)
- Raúl Ruiz (e.g., City of Pirates)
- Edgar G. Ulmer (e.g., The Black Cat)
- Jacques Tourneur (e.g., I Walked With a Zombie)
- Maya Deren (e.g., Meshes of the Afternoon)
- Wojciech Has
- Kenneth Anger
Linking in in 2024
Aguirre, the Wrath of God, City of Pirates, Dark at Noon, Dominique Gonzalez-Foerster, Dream art, Enter the Void, Film noir, Fluffer, Inception, Klara Milich, Life Is a Dream (1986 film), Litoral (film), Mirror (1975 film), Mundane science fiction, Neo-Baroque film, Oneiric, Possessed (1947 film), Psychology of film, Raúl Ruiz (director), Salto (film), Surrealist cinema, The Assassination of Jesse James by the Coward Robert Ford, The Big Sleep (1946 film), The Blind Owl (film), The Blood of a Poet, The Story of Marie and Julien, Three Crowns of the Sailor, Tommy Westphall, Treasure Island (1986 film), W.E.
See also
