Dreams, fantasies and nightmares
in Terry Gilliam
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This chapter argues that all Terry Gilliam's films are exercises in hybrid textuality, but the dystopian form taken up in Brazil makes this his most overtly political work. Brazil initially is replete with utopian dreams, but as its protagonist Sam Lowry gains a better understanding of the dystopian reality, his dreams increasingly take on the dystopian tenor of that environment. Lowry's fantasies are critically analysed in terms of their narcissism and escapism, but even if we judge these negatively, he at least inhabits a more stimulating world than those around him. In Munchausen, by constructing the framework of the theatre around the tales themselves, Gilliam and Charles McKeown create a form of transitional space between the worlds of fantasy and reality. The Theatre Royal provides a space where fantasy can be presented, while serving as a refuge from the murderous reality of the besieged town that surrounds the audience.

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