Rights statement: Copyright Billy Glew 16th February 2020
Final published version, 11.4 MB, PDF document
Available under license: CC BY-NC-ND: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License
Submitted manuscript
Licence: Other
Submitted manuscript
Licence: Other
Submitted manuscript
Licence: Other
Submitted manuscript
Licence: Other
Submitted manuscript
Licence: Other
Submitted manuscript
Licence: Other
Submitted manuscript
Licence: Other
Research output: Thesis › Doctoral Thesis
Research output: Thesis › Doctoral Thesis
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TY - BOOK
T1 - Screen Dreams
T2 - a practice-based investigation of filmic dream sequences, using the dream theories of Freud, Jung, Revonsuo and Hobson
AU - Glew, Billy
PY - 2020
Y1 - 2020
N2 - This thesis is a practice-based investigation into the production of filmic dream sequences. The research aims to demonstrate how the dream theories of Sigmund Freud, Carl Jung, Allan J. Hobson and Antti Revonsuo, incorporated into film-making practice, affects the production of dream sequences. The thesis asks: Which techniques denote a film sequence as depicting a dream and how closely do filmic dream sequences correlate with the dream theories of Freud, Jung, Revonsuo and Hobson? In support of answering this question, the thesis investigates what variations in styles of dream sequence are produced by using different combinations of dream-denoting elements. As part of the practice-research, I explore methods for incorporating representations of latent dream content.After reviewing and comparing the selected dream theories, I compare two opening film sequences with similar content, 8 ½ (Federico Fellini, 1963), depicting a dream, and Falling Down (Joel Schumacher, 1993), depicting waking reality, discovering eight dream-denoting film-making techniques. Building on these findings, I analyse a further 49 dream sequences, revealing four additional dream-denoting techniques. I then analyse the dream sequences for correlation with the selected dream theories, including to discover if latent content is ever explicitly represented. I use the findings from my analyses to inform the production of a series of filmic dream sequences, with each film incorporating one or more of the selected dream theories into each stage of production.The thesis addresses several gaps in theoretical and practice-based film research. In film theory, the thesis provides a structured, repeatable methodology for filmic analysis specific to dream sequences and summarises the form and content of dream sequences up to the present, identifying twelve dream-denoting elements. In practice, the thesis researches detailed methods for producing dream sequences in narrative film including representing latent content, by creatively interpreting and using different combinations of psychoanalytic and neurocognitive dream theories.
AB - This thesis is a practice-based investigation into the production of filmic dream sequences. The research aims to demonstrate how the dream theories of Sigmund Freud, Carl Jung, Allan J. Hobson and Antti Revonsuo, incorporated into film-making practice, affects the production of dream sequences. The thesis asks: Which techniques denote a film sequence as depicting a dream and how closely do filmic dream sequences correlate with the dream theories of Freud, Jung, Revonsuo and Hobson? In support of answering this question, the thesis investigates what variations in styles of dream sequence are produced by using different combinations of dream-denoting elements. As part of the practice-research, I explore methods for incorporating representations of latent dream content.After reviewing and comparing the selected dream theories, I compare two opening film sequences with similar content, 8 ½ (Federico Fellini, 1963), depicting a dream, and Falling Down (Joel Schumacher, 1993), depicting waking reality, discovering eight dream-denoting film-making techniques. Building on these findings, I analyse a further 49 dream sequences, revealing four additional dream-denoting techniques. I then analyse the dream sequences for correlation with the selected dream theories, including to discover if latent content is ever explicitly represented. I use the findings from my analyses to inform the production of a series of filmic dream sequences, with each film incorporating one or more of the selected dream theories into each stage of production.The thesis addresses several gaps in theoretical and practice-based film research. In film theory, the thesis provides a structured, repeatable methodology for filmic analysis specific to dream sequences and summarises the form and content of dream sequences up to the present, identifying twelve dream-denoting elements. In practice, the thesis researches detailed methods for producing dream sequences in narrative film including representing latent content, by creatively interpreting and using different combinations of psychoanalytic and neurocognitive dream theories.
KW - screen dreams
KW - dreams
KW - film
KW - dream sequence
KW - Sigmund Freud
KW - Carl Jung
KW - Revonsuo
KW - Hobson
KW - 8 1/2
KW - Fellini
KW - Falling Down
KW - dream-denoting elements
KW - psychoanalytic
KW - neurocognitive
KW - Forest
KW - Mira
KW - Soviet Soup
KW - Dream Three
KW - The Shadow
KW - unconscious
KW - latent
KW - filmic
KW - film-making
KW - filmmaking
KW - Threat Simulation
KW - Three Screens
KW - Night Walker
KW - waking reality
KW - Sound Design
KW - Tarkovsky
KW - Bunuel
KW - surrealism
U2 - 10.17635/lancaster/thesis/877
DO - 10.17635/lancaster/thesis/877
M3 - Doctoral Thesis
PB - Lancaster University
ER -