Abstract
Here the author considers the possibility that aesthetic objects — stories, narratives, and other similar cognitive structures — verlay and disguise human experience in a manner that is only revealed during the peculiar distortions of play. Working from the notion of human play as an anti-aesthetic form, the author examines playful destructions in film — Groundhog Day (1993), Lola rennt (1998), and Memento (2000)—and other media forms that serve to undermine conventional time and space, and, during that process, reveal the fundamental mechanics of human experience and creation of self.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
