IRIS publication 247265787
‘Tango for a Dream: Narrative Liminality and Musical Sensuality in Richard Linklater’s Waking Life’
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TY - CONF - Invited Lectures - Kulezic-Wilson, Danijela - 2014 - February - ‘Tango for a Dream: Narrative Liminality and Musical Sensuality in Richard Linklater’s Waking Life’ - Author - Produced - 0 - () - The first feature film made using the technique of rotoscoping, Richard Linklater’s Waking Life is the epitome of contradiction: unapologetically cerebral and irresistibly sensuous, fragmentary and yet all-encompassing, simultaneously distancing and immersive. Even its audiovisual style seems contradictory, representing liminal narrative spaces by juxtaposing perpetually moving and increasingly unstable shapes and colours with the most “earthly” of music genres, the tango. The distinctly oneiric content and visual style of Waking Life make its positioning in a neo-surrealist framework both natural and reasonable, as is suggested by John Richardson in An Eye for Music (2012). I will contest this reading, though, by viewing Linklater’s film in the context of the filmmaker’s epistemological and metaphysical concerns, arguing that Waking Life’s internal paradoxes are the embodiment not so much of the surrealist obsession with the unconscious and the irrational but rather of the film’s themes – the mysteries of existence and time. Supporting this interpretation is my contention that the references to Jean-Luc Godard’s Prénom Carmen (1983) in the scoring not only evoke the French director’s distrust of the film medium itself but also connect to Waking Life’s wider concerns with the nature of reality and our experience of it. - Animation at the Cutting Edge: An Alphaville Symposium, UCC DA - 2014/02 ER -
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@misc{V247265787, = {Invited Lectures}, = {Kulezic-Wilson, Danijela }, = {2014}, = {February}, = {‘Tango for a Dream: Narrative Liminality and Musical Sensuality in Richard Linklater’s Waking Life’}, = {Author}, = {Produced}, = {0}, = {()}, = {{The first feature film made using the technique of rotoscoping, Richard Linklater’s Waking Life is the epitome of contradiction: unapologetically cerebral and irresistibly sensuous, fragmentary and yet all-encompassing, simultaneously distancing and immersive. Even its audiovisual style seems contradictory, representing liminal narrative spaces by juxtaposing perpetually moving and increasingly unstable shapes and colours with the most “earthly” of music genres, the tango. The distinctly oneiric content and visual style of Waking Life make its positioning in a neo-surrealist framework both natural and reasonable, as is suggested by John Richardson in An Eye for Music (2012). I will contest this reading, though, by viewing Linklater’s film in the context of the filmmaker’s epistemological and metaphysical concerns, arguing that Waking Life’s internal paradoxes are the embodiment not so much of the surrealist obsession with the unconscious and the irrational but rather of the film’s themes – the mysteries of existence and time. Supporting this interpretation is my contention that the references to Jean-Luc Godard’s Prénom Carmen (1983) in the scoring not only evoke the French director’s distrust of the film medium itself but also connect to Waking Life’s wider concerns with the nature of reality and our experience of it.}}, = {Animation at the Cutting Edge: An Alphaville Symposium, UCC}, source = {IRIS} }
Data as stored in IRIS
OTHER_PUB_TYPE | Invited Lectures | ||
AUTHORS | Kulezic-Wilson, Danijela | ||
YEAR | 2014 | ||
MONTH | February | ||
TITLE | ‘Tango for a Dream: Narrative Liminality and Musical Sensuality in Richard Linklater’s Waking Life’ | ||
RESEARCHER_ROLE | Author | ||
STATUS | Produced | ||
PEER_REVIEW | 0 | ||
TIMES_CITED | () | ||
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ABSTRACT | The first feature film made using the technique of rotoscoping, Richard Linklater’s Waking Life is the epitome of contradiction: unapologetically cerebral and irresistibly sensuous, fragmentary and yet all-encompassing, simultaneously distancing and immersive. Even its audiovisual style seems contradictory, representing liminal narrative spaces by juxtaposing perpetually moving and increasingly unstable shapes and colours with the most “earthly” of music genres, the tango. The distinctly oneiric content and visual style of Waking Life make its positioning in a neo-surrealist framework both natural and reasonable, as is suggested by John Richardson in An Eye for Music (2012). I will contest this reading, though, by viewing Linklater’s film in the context of the filmmaker’s epistemological and metaphysical concerns, arguing that Waking Life’s internal paradoxes are the embodiment not so much of the surrealist obsession with the unconscious and the irrational but rather of the film’s themes – the mysteries of existence and time. Supporting this interpretation is my contention that the references to Jean-Luc Godard’s Prénom Carmen (1983) in the scoring not only evoke the French director’s distrust of the film medium itself but also connect to Waking Life’s wider concerns with the nature of reality and our experience of it. | ||
PUBLISHER_LOCATION | Animation at the Cutting Edge: An Alphaville Symposium, UCC | ||
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