Abstract
Films, recalling fairy-tale magic, transcend time and space, and play with their audience’s sense of (un)reality and (im)possibility. In director Tarsem’s live-action fairytale films The Fall and Mirror Mirror, the magic (but also realistic) compressions and extensions of time and space offer overlaps between heterospatiality (using multiple, diverse spaces) and heterotemporality (using multiple, diverse times). In both cases, Tarsem puts filmic magic and science—historical and current—to postmodern and implicitly resistant uses. The otherworldly realms of fairy tales make them a potential place and time for the play and work of a free mind.
Recommended Citation
Greenhill, Pauline
(2019)
"Camera Obscura and Zoetrope: Tarsem and Magic/Reality in Transcultural Fairy-Tale Film,"
Narrative Culture: Vol. 6:
Iss.
2, Article 3.
Available at:
https://digitalcommons.wayne.edu/narrative/vol6/iss2/3