TY  - CONF
  - Kulezic-Wilson, D.
  - Music for Audio-Visual Media
  - Tango for a Dream: Narrative Liminality and Musical Sensuality in Richard Linklater's 'Waking Life'
  - University of Leeds
  - Oral Presentation
  - 2014
  - ()
  - 0
  - 04-SEP-14
  - 06-SEP-14
  - Richard Linklater’s 'Waking Life' is the epitome of contradiction: unapologetically cerebral in its content while being visually sensuous; fragmentary in its narrative style and yet all-encompassing in the breadth of its ideas. Another intriguing aspect of 'Waking Life'’s internal contradictions is the juxtaposition of the film’s liminal narrative space with the most “earthly” of music genres, the tango. Instead of positioning Waking Life in a neo-surrealist framework as done by John Richardson in his book 'An Eye for Music', I will explore the contradictions of Linklater’s film by viewing it in the context of the filmmaker’s metaphysical concerns, showing how all his formal choices, including the rotoscoped visual style, the “narrative of digressions” (Linklater) and the choice and placement of music, resonate with the film’s thematic undercurrents and its inquiry into the mysteries of existence, consciousness and time. I will argue that the intriguing tension between the film’s narrative liminality and tango’s erotic corporeality addresses the dualistic nature of human experience and that the film’s 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 perception of it.
DA  - 2014/NaN
ER  - 

@unpublished{V270717392,
   = {Kulezic-Wilson,  D. },
   = {Music for Audio-Visual Media},
   = {{Tango for a Dream: Narrative Liminality and Musical Sensuality in Richard Linklater's 'Waking Life'}},
   = {University of Leeds},
   = {Oral Presentation},
   = {2014},
   = {()},
   = {0},
  month = {Sep},
   = {06-SEP-14},
   = {{Richard Linklater’s 'Waking Life' is the epitome of contradiction: unapologetically cerebral in its content while being visually sensuous; fragmentary in its narrative style and yet all-encompassing in the breadth of its ideas. Another intriguing aspect of 'Waking Life'’s internal contradictions is the juxtaposition of the film’s liminal narrative space with the most “earthly” of music genres, the tango. Instead of positioning Waking Life in a neo-surrealist framework as done by John Richardson in his book 'An Eye for Music', I will explore the contradictions of Linklater’s film by viewing it in the context of the filmmaker’s metaphysical concerns, showing how all his formal choices, including the rotoscoped visual style, the “narrative of digressions” (Linklater) and the choice and placement of music, resonate with the film’s thematic undercurrents and its inquiry into the mysteries of existence, consciousness and time. I will argue that the intriguing tension between the film’s narrative liminality and tango’s erotic corporeality addresses the dualistic nature of human experience and that the film’s 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 perception of it.}},
  source = {IRIS}
}