Sorry,
Correction of links:
http://www.tau.ac.il~haim/s-chaptr.htm#top
http://www.film-philosophy.com/vol4-2000/n10debaise
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Date: Wed, 02 Apr 2003 18:55:11 +0300 (IDT)
From: [log in to unmask]
Reply-To: [log in to unmask]
Subject: Re: How to film a thought
To: Film-Philosophy Salon
Cinematic representation of characters' thoughts is the subject of my book. You
can take a look at it:
http://www.tau.ac.il/~haim/s-chapt.htm#top
Review at Film-Philosophy:
http://www.film-philosophy/com/vol4-2000/no10debaise
Quoting Rob Ruzic <[log in to unmask]>:
>> Then there are films that express a character's
> thoughts. - Alain Resnais' Providence shows us the
> creative process in action as a novelist spends a
> sleepless night struggling with his latest creation
> and we see it taking shape. There are films that show
> us the characters thoughts as dream states (Mulholland
> Drive and Waking Life being recent examples). And
> there are films that depend heavily on flashbacks
> (character's thoughts as memory).
>
> When it's a character's thoughts that are being shown,
> I don't think there's anything specific about the
> shots themselves that signify: thought. Rather, it's
> in the editing, in the juxtaposition of shots. Look
> at the Limey and all the recurring shots of Terence
> Stamp on the airplane, distractedly staring out the
> window. How do those shots affect the shots around
> them? Is the whole film a representation of Wilson's
> thoughts as, on his way back to England, he goes over
> in his mind what happened in California?
>
> Of course, we don't need to see the thinker to know
> we're seeing thoughts - is the protagonist/narrator of
> Last Year at Marienbad remembering an event,
> aniticipating it or simply dreaming it all up? We
> don't know, because we don't see him outside of the
> subjective labyrinth of his thoughts. But still, we
> know that this isn't "real" - the style of the editing
> suggests something closer to the way the mind works
> than to the way objective reality (whatever that is)
> operates. (Resnais' work is full of examples of
> editing strategies that mimic the thought process).
>
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