Films and Dreams considers the essential link between films and the
world of dreams. To discuss dream theory in the context of film
studies means moving from the original, clinical context within
which dream theory was originally developed to an environment
established by primarily aesthetic concerns. Botz-Bornstein deals
with dreams as 'self-sufficient' phenomena that are interesting not
because of their contents but because of the 'dreamtense' through
which they deploy their being. A diverse selection of films are
examined in this light: Tarkovsky's anti-realism exploring the
domain of the improbable between symbolization, representation and
alienation; Sokurov's subversive attacks on the modern image
ideology; Arthur Schnitzler's shifting of the familiar to the
uncanny and Kubrick's avoidance of this structural model in Eyes
Wide Shut; and Wong Kar-Wai's dreamlike panorama of parodied
capitalism.
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