The Eyes Have It
Cinema and the Reality Effect
Publication Year: 2013
Beginning with a penetrating study of five cornfield sequences—including The Wizard of Oz, Arizona Dream, and Signs—Murray Pomerance journeys through a vast array of cinematic moments, technical methods, and laborious collaborations from the 1930s to the 2000s to show how the viewer's experience of "reality" is put in context, challenged, and willfully engaged.
Four meditations deal with “reality effects” from different philosophical and technical angles. “Vivid Rivals” assesses active participation and critical judgment in seeing effects with such works as Defiance, Cloverfield, Knowing, Thelma & Louise, and more. “The Two of Us” considers double placement and doubled experience with such films as The Prestige, Niagara, and A Stolen Life. “Being There” discusses cinematic performance and the problems of believability, highlighting such films as Gran Torino, The Manchurian Candidate, In Harm’s Way, and other films. “Fairy Land” explores the art of scenic backing, focusing on the fictional world of Brigadoon, which borrows from both hard-edged realism and evocative landscape painting.
Published by: Rutgers University Press
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I hav e been helped extensively by a very large number of kind people, to whom I owe a very sincere debt of gratitude. Th ese include Sandra Joy Aguilar, Columbia Broadcasting System, Los Angeles; Patty Armacost, American Society of Cinematographers, Los Angeles; Jonathon Auxier, Warner Bros. Archives, Los Angeles; Hazel Bateman, Edinburgh College ...
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...“Reality,” no less an expert than Liza Minnelli opined to Vanity Fair in November 2010, “is something you rise above.” In saying this, and with-out being philosophical, she invokes “reality” as a weight, the humdrum oppression of the everyday. Liza imagines herself — and us — striving to reach some almost-imperial artistic plateau resting “above the clouds,” ...
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When things look real at the movies, one can be so enthralled as to lose a sense of reality in the “reality” of the experience. I sat in an audience far below Times Square to watch Star Wars in the summer of 1977, and at the moment — that glorious and epoch-marking moment — when Han Solo and Chewbacca threw the Millennium Falcon into hyperdrive, the twelve ...
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Th e leap of mortality, the salto mortale, an old acrobatic trick and crowd pleaser, goes all the way back to a primitive doubling and replacement rit-ual in which the priest and his priesthood are simultaneously overcome and renewed through an act of extremity. Nietzsche plays upon it in the Th e tight-rope walker had begun his work: he had emerged from a little door ...
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Paul Philidor, who had been projecting moving images of the dead to the astonished eyes of their friends and relatives (having obtained beforehand images that he could have copied in paint onto slides), applied his art by playing to, and with, the properties of light and the imagination, La Feuille Villageoise reported. Th anks to his phantasmagoria, one could enter a dark ...
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Where is it that one can claim to be, while watching the action of a fi lm? In which of two incomparable, undocumented, unresolvable realities? In the world of the theatrical auditorium, with its dimmed lights, its plush seating, its sweeping screen, its modest projection booth, its hidden pro-jector, its paid projectionist, its garlanded box oﬃ ce, all attached to — or ...
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Murray Pomerance is professor of sociology at Ryerson University. His many books include Th e Horse Who Drank the Sky, An Eye for Hitchcock, and Johnny Depp Starts Here , all from Rutgers University Press. As well as editor of the Techniques of the Moving Image series at Rutgers Univer-sity Press and Horizons of Cinema series at State University of New York ...
Page Count: 288
Publication Year: 2013
Series Title: Techniques of the Moving Image
Series Editor Byline: Murray Pomerance