'Who took the Drugs? Displaced Hallucinations in Psychedelic Fiction Films'

Mark Broughton

'Who took the Drugs? Displaced Hallucinations in Psychedelic Fiction Films'

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Abstract

My paper explores how, in films like Wonderwall (1968), More (1969) and Performance (1970), psychedelic effects are not contained by the points of view of characters who are under the influence of hallucinogenic drugs. I argue that psychedelia inflects cinematography and setting, so that narrative realism, psychological realism and abstraction are combined to form a radical new aesthetic. My paper considers how the films achieve this blending of modes by deploying other psychedelic arts in the image and soundtrack or by drawing on the cinematic and literary avant-gardes.

Original language	English
Publication status	Published - 11 Jul 2015
Event	Breaking Convention: The 3rd International Conference on Psychedelic Consciousness - University of Greenwich, London, United Kingdom Duration: 10 Jul 2015 → 12 Jul 2015

Conference

Conference	Breaking Convention: The 3rd International Conference on Psychedelic Consciousness
Country/Territory	United Kingdom
City	London
Period	10/07/15 → 12/07/15

Keywords

Psychedelia
Avant-garde
Mainstream film
Altered states of consciousness
Levels of narration
Epistemic complication
Hallucinogens
Focalisation

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Who Took the Drugs Paper
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abstract = "My paper explores how, in films like Wonderwall (1968), More (1969) and Performance (1970), psychedelic effects are not contained by the points of view of characters who are under the influence of hallucinogenic drugs. I argue that psychedelia inflects cinematography and setting, so that narrative realism, psychological realism and abstraction are combined to form a radical new aesthetic. My paper considers how the films achieve this blending of modes by deploying other psychedelic arts in the image and soundtrack or by drawing on the cinematic and literary avant-gardes.",

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N2 - My paper explores how, in films like Wonderwall (1968), More (1969) and Performance (1970), psychedelic effects are not contained by the points of view of characters who are under the influence of hallucinogenic drugs. I argue that psychedelia inflects cinematography and setting, so that narrative realism, psychological realism and abstraction are combined to form a radical new aesthetic. My paper considers how the films achieve this blending of modes by deploying other psychedelic arts in the image and soundtrack or by drawing on the cinematic and literary avant-gardes.

AB - My paper explores how, in films like Wonderwall (1968), More (1969) and Performance (1970), psychedelic effects are not contained by the points of view of characters who are under the influence of hallucinogenic drugs. I argue that psychedelia inflects cinematography and setting, so that narrative realism, psychological realism and abstraction are combined to form a radical new aesthetic. My paper considers how the films achieve this blending of modes by deploying other psychedelic arts in the image and soundtrack or by drawing on the cinematic and literary avant-gardes.

KW - Psychedelia

KW - Avant-garde

KW - Mainstream film

KW - Altered states of consciousness

KW - Levels of narration

KW - Epistemic complication

KW - Hallucinogens

KW - Focalisation

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ER -

'Who took the Drugs? Displaced Hallucinations in Psychedelic Fiction Films'

Abstract

Conference

Keywords

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