Perspectives Lecture [7] 'Chasing Tales: The Ouroboros'
Definitions
Metafiction- The term, first coined by William H. Gass’s ‘Philosophy and
the Form of Fiction’, (1970), was used when discussing the genre of
experimental texts emerging in 1960’s American fiction. Texts that often broke the
‘traditional’ structure of ‘fictional reality’, (i.e this is the ‘hyper-real’
reality where you are experiencing a world/adventure, and this is the ‘reality’
where you are turning the pages, and reading the words as the reader), so to cross
over to the ‘true reality’.
Ultimately, meta-fiction uses itself as a medium for discussion;
it’s “fiction about fiction”
Intertextuality- The interrelationship between texts, across multiple
platforms.
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| Fig. 1 |
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| Fig. 2 |
It’s the idea that “no text exists in a bubble”, and it’s
paramount we recognize the way in which texts impact upon one another... the
relationship between the reader and the text, and that between the reader and
author.
Mise-en-Abyme- The technique of showing an image within itself, receding back to infinity.The most common example of this would be ‘mirror reflection’, but can also be a screen within a screen. When the visual content contains a version of itself, the medium itself can become subject to discussion. It brings attention to the “illusory nature of the world”, and the medium itself. Including our roles as ‘viewers’, creators, and even characters, in relation to each reality (hyper-real, simulacrum or otherwise).
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| Fig. 3 |
'Breaking the fourth wall' refers to the moment a character "acknowledges their fictionality", whether that be by addressing the viewer directly/indirectly or talking to the 'author' themselves.
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| Fig. 4 Deadpool talking to the reader |
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| Fig. 5 Deadpool talking to the author of Deadpool: Issue 1- Rob Liefeld. |
'Dancer in the Dark'
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| Fig. 6 |
Five ways 'Dancer in the Dark' is considered 'Post-modern':
1) Intertextuality
Lars Von Triers's 'Dancer in the Dark' intertextualises from a range of existing expectations of film and musicals, (i.e. a character bursting into song whenever feeling intense emotion; Selma starting a song whenever the stress shifts up a notch... character's in melodrama's feeling intensely but keeping it repressed; Selma singing, but only in her head, where no one bears witness etc.). This means that when these rules are suddenly broken, or juxtaposed against the more contrasting reality of 'life', the effect is all the more powerful. We, the audience, feel as if Selma could be a real person, and that hits hard all the more so.
2) Hyper-reality
Throughout the story of Selma Jezkova, a Czech republic immigrant who moves with her son to Washington State, America (1960's), the audience is sunk in multiple layers of reality. The first being Selma's imaginary day dreams, where life becomes a musical, and everyone sings/dances, the second then being her reality of hardship, and the issues of heredity blindness. The last of which is the reality of the audience, who are watching a film featuring Icelandic singer, Björk. Someone who already existed within her own reality as a 'singer', and our expectation of musicians within the industry.
3) Deconstruction
The expectation of 'musicals' is sat starkly against the 'true' hardships of Selma's life, as we see the numbers unfold at times of sadness. Near the end Selma seems unable to reach this aspect of herself, with the silence of the prison, and the prospect of 'death' suddenly becoming a horrid reality.
These moments help deconstruct our idea's around the 'musical' genre, and our expectations of the 'happy ending'.
4) Fragmentation
The film, though running chronologically as a whole, diverts from the 'traditional' narrative structure, as plot developments happen both in Selma's mind, and the external world around her.
It's abundant in ambiguous motivations (i.e. why Bill begs Selma to kill him), and refuses us all direct insight into character's thoughts- instead implying their motivations, and the systems that helps enforce it.
As Selma is taken into the US justice system, the narrative reflects the constrained nature of the law, as she's tried, found guilty and sentenced to death. This "claustrophobic progress through a constrained narrative" yields no happy ending. It's as if we- the viewer- know what's coming, and the inevitability of it. We feel like Selma, trapped, and unable to go against her values, even in the face of her impending death.
Ultimately this fragmentation helps critique existing metanarratives/expectations, such as 'The American Dream', and its values around healthcare, justice etc.
5) Meta-fiction
This film is essentially a story about musicals, and the nature of the genre ("nothing ever goes wrong"). Time and time again Selma slips between realities, and explores the 'rules' of musicals in relation to the 'reality' of her hardships. Whenever the film reaches a zenith, Selma shows the themes and conflicting relationships through contemporary dance, and is seen to distance herself from the reality of pain. Instead viewing the scenario as if it were fictional, and she was the director, overlooking the hardships of the character.
The characters of one story (i.e. Kathy, Selma's work friend- Bill, the policeman and Jeff, Selma's potential love interest etc.), switch to another (Selma's fictional versions of them), and also breaks us from immersion... reminding us that they're 'actors' and 'performers' in 'Dancer in the Dark. Especially during the musical numbers.
The 'reality' of Selma however, also reveals the fictionality of the story- with convenient plot development (The fee being exactly equivalent to the money she needs for her son's operation, the state authorities allowing Selma to keep the money which she may or may not have stolen, and plays an active role of the murder etc.).
These moments, which snap us out of the immersion, have us questioning the purpose of the text (in changing our values), and relating it to our own concept/memories of justice.
Websites
'alwaysactingup', (2009), 'What is the 4th Wall?', [Online]. Available at: https://alwaysactingup.wordpress.com/what-is-the-4th-wall/ [Accessed Date: 14/11/2017]Lars Von Triers's 'Dancer in the Dark' intertextualises from a range of existing expectations of film and musicals, (i.e. a character bursting into song whenever feeling intense emotion; Selma starting a song whenever the stress shifts up a notch... character's in melodrama's feeling intensely but keeping it repressed; Selma singing, but only in her head, where no one bears witness etc.). This means that when these rules are suddenly broken, or juxtaposed against the more contrasting reality of 'life', the effect is all the more powerful. We, the audience, feel as if Selma could be a real person, and that hits hard all the more so.
2) Hyper-reality
Throughout the story of Selma Jezkova, a Czech republic immigrant who moves with her son to Washington State, America (1960's), the audience is sunk in multiple layers of reality. The first being Selma's imaginary day dreams, where life becomes a musical, and everyone sings/dances, the second then being her reality of hardship, and the issues of heredity blindness. The last of which is the reality of the audience, who are watching a film featuring Icelandic singer, Björk. Someone who already existed within her own reality as a 'singer', and our expectation of musicians within the industry.
3) Deconstruction
The expectation of 'musicals' is sat starkly against the 'true' hardships of Selma's life, as we see the numbers unfold at times of sadness. Near the end Selma seems unable to reach this aspect of herself, with the silence of the prison, and the prospect of 'death' suddenly becoming a horrid reality.
These moments help deconstruct our idea's around the 'musical' genre, and our expectations of the 'happy ending'.
4) Fragmentation
The film, though running chronologically as a whole, diverts from the 'traditional' narrative structure, as plot developments happen both in Selma's mind, and the external world around her.
It's abundant in ambiguous motivations (i.e. why Bill begs Selma to kill him), and refuses us all direct insight into character's thoughts- instead implying their motivations, and the systems that helps enforce it.
As Selma is taken into the US justice system, the narrative reflects the constrained nature of the law, as she's tried, found guilty and sentenced to death. This "claustrophobic progress through a constrained narrative" yields no happy ending. It's as if we- the viewer- know what's coming, and the inevitability of it. We feel like Selma, trapped, and unable to go against her values, even in the face of her impending death.
Ultimately this fragmentation helps critique existing metanarratives/expectations, such as 'The American Dream', and its values around healthcare, justice etc.
5) Meta-fiction
This film is essentially a story about musicals, and the nature of the genre ("nothing ever goes wrong"). Time and time again Selma slips between realities, and explores the 'rules' of musicals in relation to the 'reality' of her hardships. Whenever the film reaches a zenith, Selma shows the themes and conflicting relationships through contemporary dance, and is seen to distance herself from the reality of pain. Instead viewing the scenario as if it were fictional, and she was the director, overlooking the hardships of the character.
The characters of one story (i.e. Kathy, Selma's work friend- Bill, the policeman and Jeff, Selma's potential love interest etc.), switch to another (Selma's fictional versions of them), and also breaks us from immersion... reminding us that they're 'actors' and 'performers' in 'Dancer in the Dark. Especially during the musical numbers.
The 'reality' of Selma however, also reveals the fictionality of the story- with convenient plot development (The fee being exactly equivalent to the money she needs for her son's operation, the state authorities allowing Selma to keep the money which she may or may not have stolen, and plays an active role of the murder etc.).
These moments, which snap us out of the immersion, have us questioning the purpose of the text (in changing our values), and relating it to our own concept/memories of justice.
Websites
'Bjork.fr', (2001), 'Scope: Dancer in the Dark', [Online]. Available at: http://www.bjork.fr/Scope [Accessed Date: 14/11/2017]
Bradshaw, Peter (2000), 'Dancer in the Dark', [Online]. Available at: https://www.theguardian.com/film/2000/sep/15/1 [Accessed Date: 14/11/2017]
'IMDb', (No Date), 'Dancer in the Dark', [Online]. Available at: http://www.imdb.com/title/tt0168629/ [Accessed Date: 14/11/2017]
'Sight and Sound', (2000), 'Dancer in the Dark: How Do You Solve A Problem Like Von Trier?', [Online]. Available at: http://old.bfi.org.uk/sightandsound/feature/53 [Accessed Date: 14/11/2017]
Illustrations
Fig. 1 Stewart, Dave and Williams III, J.H. (2015), 'No Name', [Illustration]. In: Gaiman, Neil, 'The Sandman: Overture (The Deluxe Edition)'. California, Burbank: DC Comics VERTIGO.
Fig. 2 'The French Lieutenant's Woman', (1969), [Book Cover]. Available at: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVj5GAxho3bdyHwO_45vrz9fP852gwRUq2NZK8RcJlPrsyXIGeucbpunoAzaGn7-1VhICGI1WJ0Cs-gaJDYXHa86FC4goPqp12oUoFsiJO9r2qSZ01jsb3IytkFutC3PhSxM5JRbr4vk4A/s1600/french+lieutenants+woman+book+cover+john+fowles+vintage+edition.jpg [Accessed Date: 14/11/2017]
Fig. 3 'Inception', (2010), [Film Still]. Available at: http://verraes.net/img/posts/2014-12-29-how-much-testing-is-too-much/inception-mirrors.jpg [Accessed Date:
Fig. 4 'Deadpool Breaking the 4th Wall', (2013), [Online Image]. Available at: https://static.fjcdn.com/pictures/Deadpool+breaking+the+4th+wall+thumb+if+you+want+more_46ec40_4770223.png [Accessed Date: 14/11/2017]
Fig. 5 'Deadpool Breaking the Fourth Wall', (2015), [Online Image]. Available at: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyBWIK4TimairpipHaYMennCfQ_9g6CZWdPC59VLcbTL0puu2m3FipzyjXuOvTROxp0LIOmrYJgQsyDI6fmbyYDMtLCp8_KEydWh6UBkozk4mmAREx38T91DJXdR-pmU6db4GHAo2DA03p/s1600/FullSizeRender_2.jpg [Accessed Date: 14/11/2017]
Fig. 6 'Dancer in the Dark Poster', (2000), [Online Image]. Available at: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmvX3a97RtP9-YQMzkTQ_TKG2vHovQ5f3xseIRYsdSK4s9Cci5TbGIp-L_BB8MccmrxEjW2eoKpGhcNscPp6ZMnIMvqJiaP7Uhhus5xBKtyjdQbYLBeEjyHBvdO4H7v879OtYeJMUXXgI/s1600/DANCER+IN+THE+DARK+-+American+Poster+2.jpg [Accessed Date: 14/11/2017]
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