What ways could a ''mise-en-scene of desire'' apply

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Reference no: EM133289035

both Heavenly Creatures and The Thief and The Cobbler could have this word applied to them. How do the films explore the possibilities of storytelling from outside of reality?

What do you imagine from the incomplete sections of Thief and The Cobbler? What does seeing these in progress moments tell you about the process of animation and the film's development?

This is a quote from the article "'Wonderful, Heavenly, Beautiful, and Ours': Lesbian Fantasy and Media(ted) Desire in Heavenly Creatures":

It is essential also to note here that the fantasies the girls create serve a dual function: they serve both as a space to enunciate desire and as a coping mechanism to escape from trauma and to resignify reality into a manageable form... For the girls, the journey's end brings them to what was once known as the "Dream Factory": Hollywood cinema (see Gaines, 2000). Although
intended by the industry to refer to the dreams that were sold to the public, the cinematic has always presented a mise-en-scene of desire in which audiences of all inclinations could chart and explore their fantasy. Mayne notes, the role of the cinema as a space for exploring queer desire cannot be underplayed. As she notes, "one of the distinct pleasures of the cinema may
well be a 'safe zone' in which homosexual as well as heterosexual desires can be fantasized and acted out" (1993, 97)

In what ways could a 'mise-en-scene of desire' apply to other films we have discussed in this class? How did the film visually create these different levels of fantasy?

Reference no: EM133289035

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