Dream sequence
From The Art and Popular Culture Encyclopedia
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"The dream sequence in The Science of Sleep in which Stéphane's hands become giant was inspired by a recurring nightmare director Michel Gondry frequently had as a child. Gondry had previously incorporated aspects of this dream into the music video for the Foo Fighters' 1997 single "Everlong"."--Sholem Stein "Several scenes of Fast Times at Ridgemont High (1982) have entered pop culture, the most famous of which is a fantasy sequence in which Phoebe Cates exits a pool and removes her bright red bikini top in slow motion to the beat of The Cars' "Moving in Stereo." --Sholem Stein |
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A dream sequence is a technique used in storytelling, particularly in television and film, to set apart a brief interlude from the main story. The interlude may consist of a flashback, a fantasy, a vision, a dream, or some other element. It is normally apart in time or space from the main story, or contrary to the continuity of the main story. Many writers and critics look down on dream sequences as a cheap way to explain a character's motives without actually integrating them into the plot, especially when it is used as an ending, wherein the main character wakes up and realises that everything that had happened was all a dream. This is usually considered an anticlimactic and ineffective way to wrap up a story or to explain previous improbable situations.
Audio or visual elements, such as distinctive music or coloration, are frequently used to signify the beginning and end of a dream sequence.
History
The dream sequence that Atossa narrates near the beginning of Aeschylus' Athenian tragedy The Persians (472 BCE) may be the first in the history of European theater. The first dream sequence in a film is more contested. Film critic Bob Mondello claims that the first famous movie with a dream sequence was Buster Keaton's Sherlock Jr. (1924). Predating this, Leslie Halpern claims the earliest dream sequence was in Edwin S. Porter's Life of an American Fireman (1903). Earlier than either of these, James Walters points out G.A. Smith's use of a dream sequence in Let Me Dream Again (1900), but is careful to note the precariousness of claiming any film the first to feature a dream sequence given the rapid transnational development of cinema in its early years and that so many films from the period have been lost.
Walters traces the dream sequence technique of revealing one thing to be another (revealing what the audience thought was a dream to actually be reality), back to magic lantern shows features "slipping" or "slipper" slides in which; some lantern slides for examples would feature two sheets of glass with different images painted on each, say a cocoon and a butterfly. The first sheet would be projected and then the second sheet slid on top of it to reveal a change, such as a butterfly emerging from a cocoon. Dream sequences became very popular in the early period of film following this change of phase format. Alongside this technique, a dream sequence which is introduced by a character falling asleep and then entering the dream sequence also became popular via such films as Edwin S. Porter's Dream of a Rarebit Fiend (1906). What is important to note is these films created a model for dream sequences in which a character's inner thoughts are not represented subjectively (from the character's point of view), but from an objective camera angle that gives the audience the impression less of a character having a dream than of being transported alongside the character into a dreamed world in which the character's actions are captured by the camera in the same way they are the films' real fictional worlds.
See also
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