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A trilogy, whose sums of its parts are not connected by a traditional narrative structure of beginning, middle and end, but through a meta-narrative.
A narrative or narratives.
Unlike the postmodern interpreation of meta-narratives, where a grand design is yet to be realized, Unoffical Trilogies form one through a signifier.
It is mystery to why there is an inherent, human attractiveness towards ordering things into threes, much like the human penchant towards simplistic binaries.
This inherent need to connect things into forming sets of threes manifests itself within cinema, whether that be through the design of the auteur or by the anointment of the specatator.
A Village in Northwestern Iran.
Liberté. Égalité. Fraternité.
Strawberry. Original. Mint.
The example of Unofficial Trilogy explored in this entry will be The Trilogy of the Imagination.
All directed by Terry Gilliam.
An avid user of Unofficial Trilogies.
Monty Python’s Holy Trinity:
Holy Grail – Life of Brian – The Meaning of Life
The Fisher King – 12 Monkeys – Fear and Loathing in Las Vegas
Using it to escape The Enlightenment ideals that humanity is of Rationality and Progress.
A criticism to the hyper-ordered society that comes from such ideals. A posthumanism.
The Ages of Man
Each of the Trilogy’s parts represent the three major acts of a man’s life.
Childhood – Adulthood – Elderhood
How is the hyper-rational, hyper-ordered world experinenced in these stages of life?
How does each stage use its Imagination to escape such a world?
"Toys," Mythologies, Roland Barthes
An adult world stuck in the ideas that technology helps one control their own lives.
In actuality, the need to constantly consume technology allows it to control its users’ lives.
The main character projects his imagination unto his toys, mythological signifiers to be the idealized adult virtues of heroism, masculinity, strength. The mythologies are visited in the different time periods, where he various historical figures or the signified forms of his toys, who are supposed to be the idealized adults in his eyes.
The character learns the adult world is actually lacking of any personal fulfillment and insignificant relevant to the greater universe.
Nineteen Eighty-Four, George Orwell
In a hyper-ordered, Orwellian-esque world where the bureaucracy takes precedence over the individual, efficiency has led to the mundane adult life, that the main character is surrounded by. This is a world, whose infrastructure devoids itself from any personal responsibility, where the inhabitants have become jaded to the killing of innocent people.
The main character tries to escape this hyper-order through his imaginative daydreams. When trying to project these fantasies onto to reality, he learns the only means of survivng in this world are either confomity or insanity.
Dialectic of Enlightenment, Max Horkheimer & Theodor W. Adorno
The Adventures of Baron Munchausen
Through so many adaptations of the 1785 book, Baron Münchhausen (Baron Prášil in Eastern Europe) has become a proverb for exaggeration. From being first adapted to cinema by Georges Méliès to being portayed alongside the Three Stooges, the character has been a frequent topic in film. Inspired by Karel Zeman’s adaptation, Gilliam’s adaptation sees the Baron in his older days in the midst of a battle between Reason and Imagination — the latter keeping, being the only thing escaping Death in his final days. It is only when this imagination becomes myth in his mind of child disciple, where he truly defeats Death and the escape of Rationalism becomes cyclical.
I am planning to have this entry take the form of a essay film, built through both clips and text.
Trying to decide between these two formats; should I use:
Three sections of three H5P slideshows with branching each represnting on of the three films.
One H5P video with interactive parts that jump around similar to the use of the map in Time Bandits?