JMC, I don't really get what you mean when you talk about
authentic/inauthentic in dreams - I suppose that Freud considers dreams not
in terms of authenticity but in terms of their symbolic significance.
Considering the black-and-white/colour distinction, the way I have seen it
is not so much in terms of colouring of the two ways of shooting in BWP
(which of course is very significant) but mostly in terms of the way of each
shooting - notice how in the beginning of the film, the black-and-white
shots are, say, 'professionally' made, for the documentary itself, the
camera is stable and the shooting is rehearsed and as the movie goes it also
becomes unstable, continuously running and following a 'spontaneous'
movement - this is what also contributes to the evokement of horror.
And to bring also the discussion in relation with the film/video
distinction, a thing I'd noticed when the film was released was that many
people did not like it on the movie theatre, whereas when I saw it on video
I loved it. A friend of mine who'd thought it a crappy film saw it again
with me on video and then he liked it. Maybe it has to do with the fact
that the video viewing experience adds to the promoting of the film as a
real event - the videotape you take out of the videostore is indeed the
footage found.
>A relevant _Gone with the Wind_ movie is _Wild at Heart_, which, though it
>does not use the B+W, C shift, borrows other stylistic motifs.
I agree with your choice of Wild at Heart, but a more apt example from the
work of Lynch is, I think, Twin Peaks - notice the similarities: Bob/The
Witch, both creatures living in woods where 'the owls are not what they
seem', murdering young children.
Aris
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Share information about yourself, create your own public profile at
http://profiles.msn.com.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|