By Jeffrey Ford
From the unheard of mind's eye of award-winning writer Jeffrey Ford come twenty brief tales (one, "The want Head," written expressly for this assortment) that boldly redefine the realm. Crackpot Palace is a luxurious dinner party of the unexpected—an unforgettable trip that might hold readers to impressive areas, although from time to time the locales could seem surprisingly generic, the same as domestic. even if he's monitoring ghostly occasions at the border of recent Jersey's mysterious Pine Barrens or following a well-equipped automaton basic into conflict, giving a welcome infusion of latest blood to the hoary vampire trope or exposing the reality approximately what quite went down on Dr. Moreau's Island of misplaced Souls, Jeffrey Ford has opened a door right into a darkish and awesome realm the place dream and reminiscence turn into one.
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Extra info for Crackpot Palace: Stories
47. 33. ’ p. 23. 34. Ibid. p. 25. 35. Ibid. p. 26. 36. Ibid. p. 19. 37. Ibid. p. 17. 38. Ibid. p. 20. 39. Ibid. p. 19. 40. Ibid. p. 20. 41. Ibid. pp. 35–36 The use of ‘barrier’ here relates back to Cavell’s earlier terminology, rather than being a term offered in Perkins’ argument specifically. 42. Perkins Film as Film p. 63. 43. Ibid. 44. Ibid. p. 70. 45. Ibid. p. 122. 46. Ibid. pp. 122–123. 38 | alternative worlds in hollywood cinema 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58.
Ibid. p. 33. Ibid. Cf. Ian Christie The Last Machine: Early Cinema and the Birth of the Modern World London: BFI Publishing, 1994, p. 15. A later film, The Countryman’s First Sight of the Animated Pictures (R. W. Paul, 1901) would seem to play on the fun of this effect by having a country ‘yokel’ in the film, watching an image of a train approach and reacting in the melodramatic fashion befitting one who thinks the train might race out beyond the screen and plough into him. Branigan, p. 33.
58 If 30 | alternative worlds in hollywood cinema we apply this terminology to the study of alternative worlds in film, we see that each of the films presents different manifestations of heterogeneous worlds, in that they harbour more than one world order. Yet, each film creates a relationship between the two worlds, thus unifying them in the story and evading arcane rupture. The relationship that the film maintains between the disparate worlds creates meaning and significance. The creation of meaning and significance, surely, is not merely the aim of Hollywood cinema, or even cinema itself, but a standard objective of storytelling.
Crackpot Palace: Stories by Jeffrey Ford