附註:Filmography: pages 195-200.
Includes bibliographical references (201-232) and index.
Introduction -- Car Crash Derby -- Deadly Déjeuner -- Notes from Underground -- Water Pressures -- The Death of a Nation -- Puppet Show -- The Eyes of a Child -- Myopic Visionary -- School Days -- Jungle Under Glass -- A Posthumous Life -- A Nightmare.
摘要:Bliss views Weir as an artist whose values are rooted in the realm of the dream, of the unconscious. Surrealistic in technique, Weir avoids the pedestrian assurances of a material realm in favor of an irresolution that, while potentially frustrating, is nonetheless for him a more truthful representation of what he considers reality. Bliss also considers Weir's heritage. Australian cinema, Bliss explains, is characterized by melodramatic narratives born of a desire to see good and evil portrayed in striking opposition. He also discusses Weir's use of another staple of Australian cinema - "mateship," the celebration of the bond between male companions, and the starkness of the Australian landscape, which functions either as a hazard or a deadly challenge, at least until American mythology caused him to see nature in a more positive light. Also prominent in Weir's films is an Australian spirit of rebellion coupled with the Aussie ambivalence toward all aspects of British culture. To help explain Weir's films, Bliss looks to Freud and Jung, whom Weir has studied, and also to two other prominent purveyors of myth and archetype, Northrop Frye and Joseph Campbell. Virtually all Weir characters struggle toward a new mode of awareness, a psychological awareness based on archetypal truths. Many of his films involve archetypal journeys heading through conflict to spiritual unity. Weir's quest is to find out what we really know and how we know what we know. -- Provided by publisher.
