Oneiric (film theory)

In the film theory , the term maverick ( / oʊ n aɪ r ɪ k / ; “pertaining to dreams “) 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. [1] [2] [3] : 3-4


Early film theorists such as Ricciotto Canudo (1879-1923) and Jean Epstein (1897-1953) arguing that films had a dreamlike quality. Raymond Bellour and Guy Rosolato have made psychoanalytical analogies between movies and the dream state, claiming movies as having “latent” content that can be psychoanalyzed as if it were a dream. Lydia Marinelli  ( of ) states That before the 1930s, psychoanalysts “Primarily Attempted to apply the interpretative schemata found in Sigmund Freud ‘s Interpretation of Dreams to movies.” quote needed ]

Author Douglas Fowler believes that “images arising from dreams of the enduring world”, “see what the reason is”, “the deep structure of human narrative is conceived in dreams and the genesis of all myth is dreams. ” [4] Author Robert Eberwein describes the filmic experience as a viewer’s vision of the vision of the screen of the subject, a process of the viewer’s prior experiences with dreaming “help to create a sense of oneness” with cinema, causing the gap between viewer and what is being viewed to narrow. [3] : 53This article is not intended to be written on the screen – whether the literal representation of a fictional character, or the fictional characters of a fictional lives – the very process of viewing oneiric experience. ” [3] : 81-82

Films and dreams are also connected to the analysis of the relationship between the cinema 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 Rene Clair called a “dreamlike state”. Edgar Morin ‘s Cinema or the imaginary man (1956) and Jean Mitry ‘Aesthetics and psychology of cinema (1963) also discusses the connection between films and the dream state. quote needed ]


Filmmakers described as using their own dreamlike elements in their films include Sergei Parajanov (eg, Shadows of Forgotten Ancestors ), David Lynch (eg, Twin Peaks , Mulholland Drive ), [5] Andrei Tarkovsky (eg Andrei Rublevand Solaris ), [6] ] Stan Brakhage (eg, Dog Star Man ), Michelangelo Antonioni (eg The Passenger ), Jaromil Jireš (eg, Valerie and Her Week of Wonders ), Krzysztof Kieslowski (egThe Double Life of Veronique ), [7] Federico Fellini (eg, Amarcord ), Ingmar Bergman (eg, Wild Strawberries ), Jean Cocteau (eg, Orphic Trilogy ), Maya Deren , [8] Wojciech Has , [9] and Kenneth Anger .

See also

  • Bertram D. Lewin


  1. Jump up^ Bacher, Hans P (1 January 2008). “Film Analysis” . Dream Worlds . Focal Press: 12-27. doi : 10.1016 / b978-0-240-52093-3.50005-7 .
  2. Jump up^ Sparshott, FE (1971). “Vision and Dream in the Cinema” . Philosophic Exchange: Annual Proceedings . 1 : 116.
  3. ^ Jump up to:c Eberwein, Robert T. (1984). Film & the Dream Screen: A Sleep and a Forgetting . Princeton, NJ: Princeton University Press. ISBN  0691066191 .
  4. Jump up^ Fowler, Douglas (1986). The Kingdom of Dreams in Literature and Film: Selected Papers from the Florida State University Conference on Literature and Film . Tallahassee: University Presses of Florida. p. 10. ISBN  0813008638 .
  5. Jump up^ Lentzner, Jay R .; Ross, Donald R. (April 26, 2005). “The Dreams That Blister Sleep: Latent Content and Cinematic Form in Mulholland Drive” . American Imago . 62 (1): 120. doi : 10.1353 / aim.2005.0016 . ISSN  1085-7931 .
  6. Jump up^ Petric, Vlada (December 1989). “Tarkovsky’s Dream Imagery” . Quarterly movie . 43 (2): 28-34. doi : 10.1525 / fq.1989.43.2.04a00040 .
  7. Jump up^ Santilli, Paul C. (December 2006). “Cinema and Subjectivity in Krzysztof Kieslowski” . Journal of Aesthetics and Art Criticism . 64 (1): 147-156. doi : 10.1111 / j.0021-8529.2006.00236.x .
  8. Jump up^ Nichols, Bill, ed. (2001). Maya Deren and the American Avant-Garde . Berkeley: University of California Press. ISBN  9780520227323 .
  9. Jump up^ Toepplitz, Krzysztof-Teodor (December 1964). “The Films of Wojciech Has” . Quarterly movie . 18 (2): 2-6. doi : 10.2307 / 1210931 .