Artur Skweres Livres

This groundbreaking book uses observations made by Marshall McLuhan to analyze the aesthetics of science fiction films, treating them as visual metaphors or probes into the new reality dominated by electronic - it considers the relations between the senses and sensuality in Blade Runner, the visually-tactile character of the film, and the status of replicants as humanity’s new clothes; - it analyzes the mixture of Eastern and Western aesthetics in Star Wars, analyzing Darth Vader as a combination of the literate and the tribal mindset; - it discusses the failure of visual society presented in the Terminator and Alien franchises, the rekindling of horror vacui, tribalism, and the desire to obliterate the past as a result of the simultaneity of the acoustic space; - finally, the book discusses the Matrix trilogy and Avatar as being deeply related in terms of the growing importance of tactility, easternization, tribalization, as well as connectivity and the implosion of human civilization.

This book uncovers the overlooked ludic elements in popular American comedy films, expanding on theories by Johan Huizinga and Roger Caillois. It addresses the neglect of play principles in film comedy studies by focusing on typical play elements in movies. Introducing two new categories, óneiros and pragma, the text analyzes how play in comedies is shaped by interactions between players and non-players. Accompanied by the author's drawings, which serve as analytical tools, the book emphasizes the long-standing tradition of play in American humor. The selected films, known for their popularity and appeal, often feature Hollywood stars such as Chevy Chase, Dan Aykroyd, and Bill Murray, allowing for situations where protagonists detach from their fictional contexts. This playful detachment from reality, characteristic of star actors' roles, exemplifies the play principle in film. Additionally, the book explores the debated idea of goal accomplishment in playful activities, asserting that play in narratives can yield significant outcomes. The introduction of óneiros and pragma highlights the intricate relationship between playfulness and practicality in the films analyzed. Through a thorough examination of ludic elements in popular American comedies, the book contributes significantly to film studies, offering a unique perspective on the concept of homo ludens as a comic hero.