Not exact matches
Resnais constantly blurs the line between fantasy
and reality shifting the actors from the couch where they watch the filmed play so that they take an active role
within stylized dreamlike scenes, where the
fiction of the play becomes their
reality.
I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through
reality, fantasy,
and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging
and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious
and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements
within its
fiction.
These stories -
within - a-story play with ideas of the unreliable narrator, as well as the blurring of
fiction and reality.
Khelil is interested in the relationship between word
and image,
and more particularly, how
reality and fiction are encoded
within both forms.
Through installed video performances Wyman explores the interrelationships between
fiction and reality, by presenting virtual space
within the screen in association with actual objects / bodies located in the gallery.
Fiction Within reveals possible
realities, dreams,
and fabrications used to cope with social pressures
and dominant ideologies.
The artist tells a story both familiar
and fantastic woven with skewed perceptions
and shaped by suggestive moments that tease the viewer into participating in a
fiction that implicates
reality within its idiosyncrasies.
In this way the boundaries between
fiction and reality are blurred as the documents
and facts are presented
within an imaginary structure.
As Prager oscillates between these shifting points of view
and duality of artifice
and reality, she breaks the «fourth wall,» an invisible barrier between the stage
and audience, creating a liminal space that invites consideration of how we absorb notions of truth
and fiction within visual culture.
He went on to do his bachelor's degree at the Camberwell College of Arts, University of the Arts, London, which helped him expand his artistic practice to construct layers
within his photographic narratives to allow for the viewer to question what they see by oscillating between
reality and fiction.
Robert Hengeveld is an installation
and media artist whose work explores the boundaries between
reality and fiction,
and where we find ourselves
within that relationship.
«Narcissists are neither disposed to stick to objective facts or to restrict their actions
within the boundaries of social custom or cooperative living... Free to wander in their private world of
fiction, narcissists may lose touch with
reality, lose their sense of proportion,
and begin to think along peculiar
and deviant lines.»
There is nothing wrong with,
and much right with, highlighting one's displayed «experience»
and / or displayed «strengths» (key words...» displayed»)
within a website, but, there is much wrong with,
and nothing right with, trying to puff up (augment) the truth (
reality) of one's «lack» of displayed experience
and / or «lack» of displayed strengths via an online creation of
fiction at the whim of someone else's (Layar's) imagination.