Difference between revisions of "ARRIVAL"
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'''ARRIVAL. Denis Villeneuve, director. Eric Heisserer, script, based on Ted Chiang's "Story of Your Life."''' USA: Film Nation Entertainment et al. (production) / Paramount Pictures (North American distribution), 2016. See Wikipedia and IMDb for more filmographic information.[https://en.wikipedia.org/wiki/Arrival_(film)][https://www.imdb.com/title/tt2543164/fullcredits/?ref_=tt_cl_sm] | '''ARRIVAL. Denis Villeneuve, director. Eric Heisserer, script, based on Ted Chiang's "Story of Your Life."''' USA: Film Nation Entertainment et al. (production) / Paramount Pictures (North American distribution), 2016. See Wikipedia and IMDb for more filmographic information.[https://en.wikipedia.org/wiki/Arrival_(film)][https://www.imdb.com/title/tt2543164/fullcredits/?ref_=tt_cl_sm] | ||
| − | Discussed by Janin Tscheschel in "The Outerspace within Us in Villeneuve's Arrival" ("A World within Us: Denis Villeneuve’s ''Arrival'' Opens an Outerspace of New Experience"), conference presentation conveniently reprinted ''SFRA Review'' #327 (Winter 2019): pp. 33-36.[http://sfra.org/resources/Documents/SFRA%20Review%20327.pdf] Relevant here is Tscheschel's observation that "In today’s world (touch-)screens are common communication interfaces [...] that encompass physical distances on the one hand but also the possibility to bridge those distances. In ''Arrival'', the 'screen' is used for this exchange of communication and, by laying on hands, also leads to a physical experience," and quoting David Richard on the "multiplicity of screens" in ARRIVAL'S mise-en-scène (p. 35). See Garrett Stewart on "[[Videology in SF film|Videology]]" in SF film | + | Discussed by Janin Tscheschel in "The Outerspace within Us in Villeneuve's Arrival" ("A World within Us: Denis Villeneuve’s ''Arrival'' Opens an Outerspace of New Experience"), conference presentation conveniently reprinted ''SFRA Review'' #327 (Winter 2019): pp. 33-36.[http://sfra.org/resources/Documents/SFRA%20Review%20327.pdf] Relevant here is Tscheschel's observation that "In today’s world (touch-)screens are common communication interfaces [...] that encompass physical distances on the one hand but also the possibility to bridge those distances. In ''Arrival'', the 'screen' is used for this exchange of communication and, by laying on hands, also leads to a physical experience," and the presentation's quoting David Richard on the "multiplicity of screens" in ARRIVAL'S mise-en-scène (p. 35). See Garrett Stewart on "[[Videology (in SF film)|Videology]]" in SF film and J. P. Telotte on such film's "omnipresent video screens, computer terminals, holographic forms, and mass media images."[https://tinyurl.com/y9ohe22b] |
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| + | In ARRIVAL, the screens come to have thematic significance as an "interface." | ||
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| + | RDE, finishing, 17Oct21 | ||
| + | [[Category: Drama]] | ||
Latest revision as of 21:50, 17 October 2021
ARRIVAL. Denis Villeneuve, director. Eric Heisserer, script, based on Ted Chiang's "Story of Your Life." USA: Film Nation Entertainment et al. (production) / Paramount Pictures (North American distribution), 2016. See Wikipedia and IMDb for more filmographic information.[1][2]
Discussed by Janin Tscheschel in "The Outerspace within Us in Villeneuve's Arrival" ("A World within Us: Denis Villeneuve’s Arrival Opens an Outerspace of New Experience"), conference presentation conveniently reprinted SFRA Review #327 (Winter 2019): pp. 33-36.[3] Relevant here is Tscheschel's observation that "In today’s world (touch-)screens are common communication interfaces [...] that encompass physical distances on the one hand but also the possibility to bridge those distances. In Arrival, the 'screen' is used for this exchange of communication and, by laying on hands, also leads to a physical experience," and the presentation's quoting David Richard on the "multiplicity of screens" in ARRIVAL'S mise-en-scène (p. 35). See Garrett Stewart on "Videology" in SF film and J. P. Telotte on such film's "omnipresent video screens, computer terminals, holographic forms, and mass media images."[4]
In ARRIVAL, the screens come to have thematic significance as an "interface."
RDE, finishing, 17Oct21
