Films are commonly known to have two or three dimensions in terms of perspective. Animated films were for decades in the twentieth century in two dimensions—a flat story-world—until the advent of animated films made to show depth, hence three dimensions. Still another, third or fourth respectively, dimension is the element of time in the story-world. Literally, as the still frames are moved one to the next, changes can be perceived in the story-world; you won’t see any change by looking at a frame. Then we get to the dimensions that extend outside of the story-world. One possible dimension is how the narrative or the story-world in a film relates to the book upon which the particular film is based. This dimension becomes visible in terms of meaning particularly when similarities exist, but differences too can prompt attention the dimension itself. In this essay, using Mary Poppins Returns (2018), I discuss another dimension that involves the content in a film but extends out into the world of the audience. When made manifest, this dimension can carry significant meaning for the audience, for this dimension involves both a society’s “social reality” and what is shown in a film.
The full essay is at "Mary Poppins Returns."
The full essay is at "Mary Poppins Returns."
