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Films with dream sequences, or a dreamlike quality, allow directors to create their own rules of logic and nature to meet a variety of artistic needs. For instance, an opening dream immediately establishes what a character is feeling; a later dream--or series of them--provides viewers with a glimpse of the climax, and a concluding dream ties up loose ends. (In real life, of course, dreams do not occur at such convenient times or serve such useful purposes.)
This book explores why science is lost or distorted in the process of representing dreams on film and why audiences prefer this figurative truth of art over the literal truth of science. Part One discusses changes in form and considers the history of dream theory. Additionally, the physiology of sleeping and dreaming, dream structure, sleep deprivation, dreams under the influence of drugs or alcohol, and waking up, as depicted on film, are examined.
Part Two investigates changes in content, and delves into the psychology of sleeping and dreaming, dream interpretation, altered states of consciousness, visions and prophecies, dreams as wish fulfillment, sex and death, nightmares, and reality versus illusion. The author uses theories by Freud, Jung, and current experts in her analyses of dream sequences and their use in film.
List of contents
Table of ContentsAcknowledgments Foreword by Robert Smither Preface Introduction: The Dream Sequence PART I: TECHNICAL DIFFICULTIES
1. History of Dream Theory
2. Physiology of Sleeping and Dreaming
3. Dream Structure
4. Sleep Deprivation
5. Dreams Under the Influence
6. Waking Up
PART II: CREATIVE DIFFERENCES
7. Psychology of Sleeping and Dreaming
8. Dream Interpretation
9. Altered States of Consciousness
10. Visions and Prophesies
11. Dreams as Wish Fulfillment
12. Dream Themes: Sex and Death
13. Nightmares
14. Dream Elements
15. Dream Symbols
16. Reality vs. Illusion
Conclusion Filmography Notes Bibliography Index
About the author
Writer Leslie Halpern has worked as a columnist for Markee Magazine, film correspondent for The Orlando Sentinel film reviewer for So London Magazine, and stringer for The Hollywood Reporter. She lives in Oviedo, Florida.
Summary
This book explores why science is lost or distorted in the process of representing dreams on film and why audiences prefer this figurative truth of art over the literal truth of science.
