the woods part of when
Aug. 9th, 2009 10:58 pmI'm not talking about Fantasy, or Science-Fiction. We've got a fair amount of good sci-fi/fantasy films lately, and I like or love a lot of them -- The Lord of the Rings, of course; Stardust; Serenity. I'm talking about the subtle stuff, the stuff that blurs the lines. The stuff that mightn't end up in the sci-fi section of your local video store (funny how we say that when they are neither exactly stores nor do they carry many videos anymore -- and doesn't everyone just Netflix or download these days?), but would probably be in the fantasy section of the bookstore. Like Pan's Labyrinth. Like the multi-layered Wings of Desire, or the is-it-or-isn't-it of The Illusionist and The Prestige. Films that ask questions, that explore worlds, that explore our world, illuminate it, or wonder how it might be different -- which is why I like the term speculative fiction over sci-fi or fantasy. It can be both. It can be either. It can be something that doesn't fall neatly into either category (a book like Einstein's Dreams, or my apocalypse short story). Most importantly, it speculates. It imagines. It blooms with possibility, with wondering. It tries, often, to understand our world through a lens of imagination.
Film is wonderfully suited to this sort of storytelling, too, because it's so visual -- you don't have to tell us what your alternate London looks like: you let the camera swoop around and we take it all in, delightedly. (Side note: one of my favourite things about the Harry Potter films, though they tend to fluctuate wildly in quality, sometimes over the course of just one film -- anyway, I really, really love the visual representation of the wizarding world, the stuff that just goes on in the background, like in Half-Blood Prince, when we go into Fred and George's shop, and it's just... I wanted to clap and laugh. Perfect.) Sometimes that's more powerful. You can have half-insect humanoids wander past the screen, or buildings made of old rubbish, or streetlamps lit with magic. You can use the camera inventively, show dreamworlds, magic, strange beings, trains of thought, alternate universes... You don't even necessarily need a large budget for this sort of film; the otherness of a world can be communicated through camera movement, colours, music, dialogue. (Side note mark two: we watched Jean Cocteau's 1946 Beauty and the Beast the other night, and oh the special effects. Sure, it's 1946, they're primitive by today's standards -- but they're magical. There's a real tactile, imaginative, clever brilliance about them that digital effects just do not and cannot have.)
In conclusion, because this isn't really an essay exactly... I want more. Maybe I've got to make it, though that seems sort of daunting and terrifying. (Not half so much in writing, because the path's a little more well-trod, and also because books cost nothing to write except sleep and sanity and the cost of researchy books and chocolates and baguettes and cheese and coffee, and you don't need a whole load of other people just to get the bones of it.)
Next time on Not-Quite-Essays With Banui: the much-debated dynamics of Urban Fantasy, because this is a subject close to my writerly heart.