Parallel Images: The “Real”, the Ghost and the Cinema

By Zanger Anat Yonat.

Published by The International Journal of the Image

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Article: Electronic $US5.00

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

The International Journal of the Image, Volume 3, Issue 1, pp.1-11. Article: Print (Spiral Bound). Article: Electronic (PDF File; 1005.039KB).

Zanger Anat Yonat

Associate Professor, Film and Television Department, Tel Aviv University, Ramat Aviv, Israel

Anat Y. Zanger is an associate professor in the Department of Film and Television and chair of the MA in Film Studies at Tel Aviv University. Her research interests include: Israeli cinema, mythology, collective memory, intertextuality, and space and landscape. She is the author of Film Remakes as Ritual and Disguises (Amsterdam University Press, 2006) and Place, Memory and Myth in Contemporary Israeli Cinema (Valentine Mitchell, 2012).