In film theory, the term oneiric (/oʊˈnaɪrɪk/oh-NY-rik, adjective; "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 The term comes from the Greek Óneiros, the personification of dreams.
Early film theorists such as Ricciotto Canudo (1879–1923) and Jean Epstein (1897–1953) argued that films had a dreamlike quality. Raymond Bellour and Guy Rosolato have made psychoanalytical analogies between films and the dream state, claiming films as having a "latent" content that can be psychoanalyzed as if it were a dream. Lydia Marinelli states that before the 1930s, psychoanalysts "primarily attempted to apply the interpretative schemata found in Sigmund Freud's Interpretation of Dreams to films."[4]
Author Douglas Fowler surmises that "images arising from dreams are the well spring of all our efforts to give enduring form and meaning to the urgencies within," seeing this as the reason why "the deep structure of human narrative is conceived in dreams and the genesis of all myth is dreams."[5] Author Robert Eberwein describes the filmic experience as the merging of a viewer's consciousness with the projected consciousness of the screen's subject, a process whereby 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]: 53 Under this theory, no matter what is being shown on the screen — whether the literal representation of a character dreaming, or the fictional characters of a story going on about their fictional lives — the very process of viewing film itself "replicates activities associated with the oneiric experience."[3]: 81–82
Films and dreams are also connected in psychological analysis by examining the relationship between the cinema screening process 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 surrealistAndré Breton argues that film viewers enter a state between being "awake and falling asleep", what French filmmaker René Clair called a "dreamlike state". Jean Mitry's first volume of Esthétique et psychologie du cinéma (1963) also discuss the connection between films and the dream state.[6]
Filmmakersedit
Filmmakers described as using oneiric or dreamlike elements in their films include:
^Bacher, Hans P (1 January 2008). "Film Analysis". Focal Press. pp. 12–27. doi:10.1016/b978-0-240-52093-3.50005-7. ISBN9780240520933. {{cite book}}: |journal= ignored (help); Missing or empty |title= (help)
^Sparshott, F.E. (1971). "Vision and Dream in the Cinema". Philosophic Exchange: Annual Proceedings. 1: 116.
^ abcEberwein, Robert T. (1984). Film & the Dream Screen: A Sleep and a Forgetting. Princeton, N.J.: Princeton University Press. ISBN978-0691066196.
^Mayer, Andreas. "The Historian of the Freud Museum: Lydia Marinelli (Psychoanalysis and History, 2009)" – via www.academia.edu. {{cite journal}}: Cite journal requires |journal= (help)
^Fowler, Douglas (1986). The Kingdom of Dreams in Literature and Film: Selected Papers from the Tenth Annual Florida State University Conference on Literature and Film. Tallahassee: University Presses of Florida. p. 10. ISBN978-0813008639.
^"Mitry, Jean. Esthétique et psychologie du cinéma. (A shorter and different version of this will appear in the Routledge Encyclopedia of Film Theory, Edward Branigan and Warren Buckland Eds.)" (PDF).
^Lentzner, Jay R.; Ross, Donald R. (26 April 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. S2CID 142931285.
^Petric, Vlada (December 1989). "Tarkovsky's Dream Imagery". Film Quarterly. 43 (2): 28–34. doi:10.1525/fq.1989.43.2.04a00040.
^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.
^Nichols, Bill, ed. (2001). Maya Deren and the American Avant-Garde. Berkeley: University of California Press. ISBN9780520227323.
^Toepplitz, Krzysztof-Teodor (December 1964). "The Films of Wojciech Has" (PDF). Film Quarterly. 18 (2): 2–6. doi:10.2307/1210931. JSTOR 1210931.
^Lim, James. "Artist Kenneth Anger Films the Missoni Clan for the Label's Fall Campaign". The Cut.
Further readingedit
Bächler, Odile. "Images de film, images de rêve; le véhicule de la vision", CinémAction, 50 (1989), pp. 40–46.
Botz-Bornstein, Thorsten. Films and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick, Wong Kar-wai. Lanham: Lexington, 2009.
Burns, Gary. "Dreams and Mediation in Music Video", Wide Angle, v. 10, 2 (1988), pp. 41–61.
Cubitt, Sean. The Cinema Effect. Cambridge and London: The MIT Press, 2004, pp. 273–299.
Halpern, Leslie. Dreams on Film: The cinematic struggle between art and science. Jefferson, N.C. : McFarland & Co., 2003.
Hobson, J. Allan. 1980. "Film and the Physiology of Dreaming Sleep: The Brain as a Camera-Projector". Dreamworks 1(1): pp. 9–25.
Marinelli, Lydia. "Screening Wish Theories: Dream Psychologies and Early Cinema". Science in Context (2006), 19: 87-110
Petrić, Vlada, Film and Dreams: An Approach to Bergman, Redgrave, NY, 1981.
January 01, 1970
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In film theory the term oneiric oʊ ˈ n aɪ r ɪ k oh NY rik adjective 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 The term comes from the Greek oneiros the personification of dreams Contents 1 History 2 Filmmakers 3 See also 4 References 5 Further readingHistory editEarly film theorists such as Ricciotto Canudo 1879 1923 and Jean Epstein 1897 1953 argued that films had a dreamlike quality Raymond Bellour and Guy Rosolato have made psychoanalytical analogies between films and the dream state claiming films as having a latent content that can be psychoanalyzed as if it were a dream Lydia Marinelli states that before the 1930s psychoanalysts primarily attempted to apply the interpretative schemata found in Sigmund Freud s Interpretation of Dreams to films 4 Author Douglas Fowler surmises that images arising from dreams are the well spring of all our efforts to give enduring form and meaning to the urgencies within seeing this as the reason why the deep structure of human narrative is conceived in dreams and the genesis of all myth is dreams 5 Author Robert Eberwein describes the filmic experience as the merging of a viewer s consciousness with the projected consciousness of the screen s subject a process whereby 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 53 Under this theory no matter what is being shown on the screen whether the literal representation of a character dreaming or the fictional characters of a story going on about their fictional lives the very process of viewing film itself replicates activities associated with the oneiric experience 3 81 82 Films and dreams are also connected in psychological analysis by examining the relationship between the cinema screening process 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 Andre Breton argues that film viewers enter a state between being awake and falling asleep what French filmmaker Rene Clair called a dreamlike state Jean Mitry s first volume of Esthetique et psychologie du cinema 1963 also discuss the connection between films and the dream state 6 Filmmakers editFilmmakers described as using oneiric or dreamlike elements in their films include Sergei Parajanov e g Shadows of Forgotten Ancestors David Lynch e g Twin Peaks Mulholland Drive 7 Andrei Tarkovsky e g Andrei Rublev Solaris 8 Stan Brakhage e g Dog Star Man Michelangelo Antonioni e g The Passenger Zabriskie Point Jaromil Jires e g Valerie and Her Week of Wonders Krzysztof Kieslowski e g The Double Life of Veronique 9 Federico Fellini e g Amarcord Francis Ford Coppola e g Apocalypse Now Ingmar Bergman e g Wild Strawberries Jean Cocteau e g Orphic Trilogy Gaspar Noe e g Enter the Void Love Climax Raul Ruiz e g City of Pirates Edgar G Ulmer e g The Black Cat Jacques Tourneur e g I Walked With a Zombie Maya Deren e g Meshes of the Afternoon 10 Wojciech Has 11 Kenneth Anger 12 See also editBertram D Lewin Experimental film Art filmReferences edit Bacher Hans P 1 January 2008 Film Analysis Focal Press pp 12 27 doi 10 1016 b978 0 240 52093 3 50005 7 ISBN 9780240520933 a href Template Cite book html title Template Cite book cite book a journal ignored help Missing or empty title help Sparshott F E 1971 Vision and Dream in the Cinema Philosophic Exchange Annual Proceedings 1 116 a b c Eberwein Robert T 1984 Film amp the Dream Screen A Sleep and a Forgetting Princeton N J Princeton University Press ISBN 978 0691066196 Mayer Andreas The Historian of the Freud Museum Lydia Marinelli Psychoanalysis and History 2009 via www academia edu a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help Fowler Douglas 1986 The Kingdom of Dreams in Literature and Film Selected Papers from the Tenth Annual Florida State University Conference on Literature and Film Tallahassee University Presses of Florida p 10 ISBN 978 0813008639 Mitry Jean Esthetique et psychologie du cinema A shorter and different version of this will appear in the Routledge Encyclopedia of Film Theory Edward Branigan and Warren Buckland Eds PDF Lentzner Jay R Ross Donald R 26 April 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 S2CID 142931285 Petric Vlada December 1989 Tarkovsky s Dream Imagery Film Quarterly 43 2 28 34 doi 10 1525 fq 1989 43 2 04a00040 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 Nichols Bill ed 2001 Maya Deren and the American Avant Garde Berkeley University of California Press ISBN 9780520227323 Toepplitz Krzysztof Teodor December 1964 The Films of Wojciech Has PDF Film Quarterly 18 2 2 6 doi 10 2307 1210931 JSTOR 1210931 Lim James Artist Kenneth Anger Films the Missoni Clan for the Label s Fall Campaign The Cut Further reading editBachler Odile Images de film images de reve le vehicule de la vision CinemAction 50 1989 pp 40 46 Botz Bornstein Thorsten Films and Dreams Tarkovsky Bergman Sokurov Kubrick Wong Kar wai Lanham Lexington 2009 Burns Gary Dreams and Mediation in Music Video Wide Angle v 10 2 1988 pp 41 61 Cubitt Sean The Cinema Effect Cambridge and London The MIT Press 2004 pp 273 299 Halpern Leslie Dreams on Film The cinematic struggle between art and science Jefferson N C McFarland amp Co 2003 Hobson J Allan 1980 Film and the Physiology of Dreaming Sleep The Brain as a Camera Projector Dreamworks 1 1 pp 9 25 Lewin Bertram D Inferences from the dream screen International Journal of Psychoanalysis vol XXIX 4 1948 p 224 Marinelli Lydia Screening Wish Theories Dream Psychologies and Early Cinema Science in Context 2006 19 87 110 Petric Vlada Film and Dreams An Approach to Bergman Redgrave NY 1981 Retrieved from https en wikipedia org w index php title Oneiric film theory amp oldid 1214430292, wikipedia, wiki, book, books, library,
