A film asks its viewers to believe that the filmic world, a world of light and shadow, is “real”. As Christian Metz observed in 1979, one of the main paradoxes in cinema is that between absence and presence. This is perhaps the reason why contemporary cinema has to be very careful about the way in which it employs possible worlds in order to build and rebuild its imagined world. This paper explores the ways in which images are engaged in constructing and deconstructing cinematic worlds. First, I will discuss a few types of labyrinths and rhizomes in Escher’s graphic works. Then, I will introduce two films and their various modes of engaging ghost pictures: Michelangelo Antonioni’s “Blow-Up” (1966) and Cronenberg’s “Videodrome” (1982). Through these films, I will tackle the issue of parallel cinematic worlds. Could it be that cinema-including postmodernist cinema-has not yet renounced its symbiosis with the “real”?
|Keywords:||Moving Images, Labyrinth, Rhizome and Parallel Worlds, The Real in Cinema, Postmodernism, Escher|
Associate Professor, Film and Television Department, Tel Aviv University, Ramat Aviv, Israel