'La intromision de la realidad objetiva en el cine de Peter Weir'

Research output: Chapter in Book/Report/Conference proceedingChapter


The films of Peter Weir characterise themselves by a permanent interference of the constructed reality by the objective, historical, ontological reality. This subverts the linear, logical (read: causal) development of the intrigue. In fact, the presence of the objective reality reveals the filmic reality as a construction, a fiction, thus functioning as a kind of Verfremdungseffekt or to be more precise as a kind of ostranenie (V. Sklovski).
In The Last Wave and in Witness different visions du monde collide when our traditional western view is confronted with respectively the aborigine and the Amish views of the world The Plummer is a similar case in point.
History as objective reality plays an important vindictive role in Gallipolli and The Year of Living Dangerously. In both cases historical reality brutually interferes with the development of the narrative.
In Picnic at Hanging Rock and in Mosquito Coast nature as unknowable and uncontrollable reality will literally destroy the characters or even amputate the narrative.
Of course, The Truman Show is the most evident example in which two realities are confronted, but already in his very first film The Cars that ate Paris two visions of reality are present. In a miniature version Green Card reflects the same ideas and in Dead Poets Society and Fearless the characters are trying desperately to construct new realities in which it would be possible to live.
Original languageEnglish
Title of host publication¿Cine de autor?
EditorsJohn D. Sanderson
PublisherUniversidad de Alicante, Alicante
Number of pages13
ISBN (Print)84-7908-838-9
Publication statusPublished - 2005

Bibliographical note

John D. Sanderson (ed) ¿Cine de autor?, Universidad de Alicante, pp.73-86
Series editor: John D. Sanderson

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