I just taught The Sea Inside...and the fantasy sequences therein (esp. Ramon's fantasy of flying out his window and to the beasch his new love is walking on) are both strikingly beautiful and further the narrative...Amenabar is good at that.
Of course, this is all linked to magic realism...
Dan
Professor Daniel Shaw
Chair, Philosophy Department
Lock Haven University (570) 484-2052
Managing Editor, Film and Philosophy
"...woe to the man whose heart has not learned while young
to hope, to love---and to put trust in life"
Joseph Conrad's Victory
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From: Film-Philosophy [[log in to unmask]] On Behalf Of William Brown [[log in to unmask]]
Sent: Tuesday, March 22, 2011 6:11 PM
To: [log in to unmask]
Subject: Re: [FILM-PHILOSOPHY] FILM-PHILOSOPHY Digest - 22 Mar 2011 - Special issue (#2011-44)
Life is the longest thing you'll ever do.
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Date: Tue, 22 Mar 2011 21:44:02 +0000
From: Lucy Fraser <[log in to unmask]<mailto:[log in to unmask]>>
Subject: Re: FILM-PHILOSOPHY Digest - 21 Mar 2011 to 22 Mar 2011 - Special issue (#2011-43)
This is becoming a semantic argument. Change not conflict is the requisite of narrative. What constitutes visual beauty is predicated on value judgement, that is not fixed, and subject to change. A more universal determinant of beauty is precision, perhaps nice in a context of the word that predates its more common meaning as 'pleasant', but nice as in precise, exact. Mathematics is thus beautiful, as are physics and astronomy in their precision, (cf. Brian Cox's recent television series) and this beauty is embedded in change.
I could go on .... but life is short ....!
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