Films and Dreams Tarkovsky, Bergman, Sokurov,

Films and Dreams considers the essential link between films and the world of dreams. To discuss dream theory in the context of film studies means moving from the original, clinical context within which dream theory was originally developed to an environment established by primarily aesthetic concerns. Thorsten Botz-Bornstein deals with dreams as "self-sufficient" phenomena that are interesting not because of their contents but because of the "dreamtense" through which they deploy their being. A diverse selection of films are examined in this light: Tarkovsky's anti-realism exploring the domain of the improbably between symbolization, representation, and alienation; Sokurov's subversive attacks on the modern image ideology; Arthur Schnitzler's shifting of the familiar to the uncanny and Kubrick's avoidance of this structural model in Eyes Wide Shut; and Wong Kar-wai's dreamlike panorama of parodied capitalism. Book jacket.

Thorsten Botz-Bornstein is professor of philosophy at Tuskegee University

Acknowledgments	p. vii
Introduction: Dreamtense and the Art of Film	p. ix
From Formalist Ostranenie to Tarkovsky's "Logic of Dreams"	p. 1
Space and Dream: Heidegger's, Tarkovsky's, and Caspar David Friedrich's Landscapes	p. 19
On the Blurring of Lines: Alexandr Sokurov	p. 31
Ingmar Bergman and Dream after Freud	p. 37
A Short Note on Nordic Culture and Dreams	p. 55
From "Ethno-Dream" to Hollywood: Schnitzler's Traumnovelle, Kubrick's Eyes Wide Shut, and the Problem of "Deterritorialization"	p. 59
Wong Kar-wai and the Culture of the Kawaii	p. 71
Aesthetics and Mysticism: Plotinus, Tarkovsky, and the Question of "Grace"	p. 85
Image and Allegory: Tarkovsky and Benjamin	p. 95
Ten Keywords Concerning Filmdream	p. 105
Bibliography	p. 147
Index	p. 155
About the Author	p. 163
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Films and Dreams Tarkovsky, Bergman, Sokurov, Kubrick, and Wong Kar-Wai

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