Finally, I will try to show how these general characteristics are varied in factual dream reports and in fictional dream representations in some literary genres (epic, lyric, dramatic) and the media of the visual arts, film, and music (section 3). Oneirizing, narrating, embedding, contextualizing, semiotizing, and functionalizing the dream (section 2). dreams is drawn up which discusses techniques for marking, This dream can be defined as a fictional mental experience whose representation rests on a poetics of deviation (section 1). the dream as it is memorized, reported, or represented. ![]() The essay will first try to outline some transmedial characteristics of the dream – not the dream-as-such which is solely accessible to dreamers, but the dream-for-us, i.e. Akira Kurosawa’s "Dreams" (1990) is in many respects a special case: It draws freely on East-Asian traditions of dream theory and dream representation but combines them with Westernstyle auto-fiction and new CGI technology. In a similar way Ingmar Bergman’s "Face to Face" (1976) brings the innovations of Existential Modernism to mainstream cinema. Hans Richter’s Narcissus-ĭream in his "Dreams That Money Can Buy" (1947) draws on the legacy of avant-garde cinema and blends it with a new interest in existential psychology, thus combining the two most important functions of dreams in film: psychological characterization and filmic innovation. ![]() ![]() Alfred Hitchcock’s "Spellbound" (1945) shows the importance of the reception of psychoanalysis for the inclusion of dreams in films of the classic period, but also the needs to avoid strict adherence to psychoanalytic dogmas. After a basic outline of the characteristics of film dreams, the essay will use four case studies to give a survey of their history between 19, concentrating on the affiliation of film dreams with dominant cultural themes and movements in intellectual history.
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