<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>Cinema, as an artistic medium, has often explored profound existential questions and deeply inquired themes such as the relationship between Being and Non-Being. This study centers on three enigmatic films: <italic>Eraserhead</italic>, <italic>Begotten</italic>, and <italic>Pi</italic>, known for their surreal and contemplative nature. I investigate how these films convey representations of Non-Being and examine their potential ties to Indian philosophical perspectives on existence. The discussion will encompass various elements such as narrative, cinematography, symbolism, and motifs which contribute to the exploration of Non-Being. I explore common threads and distinct approaches to the theme, providing a broader understanding of how filmmakers use their art to grapple with existential questions. The analysis deals with the notions of reality, illusion, emptiness, and the interconnectedness of all existence. Exploring how these films offer unique insights into ontological themes and the nature of existence through a comparative approach, I aim to elucidate the filmmakers’ creative depictions of Non-Being and their potential connections to Eastern philosophical thought, either aligning with or challenging Indian philosophical perspectives (such as Advaita Vedanta, Buddhism, and Jainism) on the human experience and the nature of reality.</p>
</abstract>

Cinema, as an artistic medium, has often explored profound existential questions and deeply inquired themes such as the relationship between Being and Non-Being. This study centers on three enigmatic films: Eraserhead, Begotten, and Pi, known for their surreal and contemplative nature. I investigate how these films convey representations of Non-Being and examine their potential ties to Indian philosophical perspectives on existence. The discussion will encompass various elements such as narrative, cinematography, symbolism, and motifs which contribute to the exploration of Non-Being. I explore common threads and distinct approaches to the theme, providing a broader understanding of how filmmakers use their art to grapple with existential questions. The analysis deals with the notions of reality, illusion, emptiness, and the interconnectedness of all existence. Exploring how these films offer unique insights into ontological themes and the nature of existence through a comparative approach, I aim to elucidate the filmmakers’ creative depictions of Non-Being and their potential connections to Eastern philosophical thought, either aligning with or challenging Indian philosophical perspectives (such as Advaita Vedanta, Buddhism, and Jainism) on the human experience and the nature of reality.

Representations of Non-Being in David Lynch’s <italic>Eraserhead</italic>, Edmund Elias Merhige’s <italic>Begotten</italic>, and Darren Aronofsky’s <italic>Pi</italic>: A Comparative Analysis from Indian Philosophy Perspectives

American, British and Canadian Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Representations of Non-Being in David Lynch’s , Edmund Elias Merhige’s , and Darren Aronofsky’s : A Comparative Analysis from Indian Philosophy Perspectives

Cinema, as an artistic medium, has often explored profound existential questions and deeply inquired themes such as the relationship between Being and...

Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives

Data publikacji: 26 sty 2024

Zakres stron: 162 - 185

DOI: https://doi.org/10.2478/abcsj-2023-0024

Słowa kluczowe
being, non-being, reality, illusion, emptiness, film narrative, self, identity, symbol, archetype

© 2023 Cristian Paşcalău, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives

Data publikacji: 26 sty 2024

Zakres stron: 162 - 185

DOI: https://doi.org/10.2478/abcsj-2023-0024

Słowa kluczowebeing, non-being, reality, illusion, emptiness, film narrative, self, identity, symbol, archetype

© 2023 Cristian Paşcalău, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Słowa kluczowe
being, non-being, reality, illusion, emptiness, film narrative, self, identity, symbol, archetype