Journey of an object

[iconogassed]

Forgot about those, thankee

How did the wonderful America Ferrera not have a single lead role in the last decade?

Ah, yes. Racism.

[coffee]

I honestly did not understand this collection.

When I think a travelling object in a film, the first thing that comes to my mind is the shiny precious of The Lord of the Rings trilogy. Or the diamond from Snatch., Wonka Bar from the Tim Burton version, the bullet in the Lord of War....

But you do not want those kind I guess. Maybe you could explain a little more.

[iconogassed]

If you read the plot summaries for The Red Violin and Twenty Bucks and can't grasp it I really don't know what to tells ya

[coffee]

I give up.
Cheers.


But I still think that you should reconsider Pulp Fiction for your collection. That watch is exactly how you like it.

[iconogassed]

Found an interesting essay on the subject! Stories that Objects Might Live to Tell: The 'Hand-Me-Down Narrative' in Film

The Yellow Rolls-Royce furthermore conveys interpersonal and business transactions in a way that is similar to other multi-story narratives, such as Diamond Handcuffs (1928), Pearls of the Crown (Les Perles de la couronne; 1937), Tales of Manhattan (1942), Meet Mr. Lucifer (1953), Paris Model (1953), The Gun (1974), Twenty Bucks (1993), Dead Man's Gun (1997), The Dress (De Jurk; 1997), The Red Violin (1999) and Iranian Spread (Sofreh Irani; 2002). In each of these films, an object circulates within and between various social arenas, acting as the cement that binds disparate communities together despite discrete narrative segmentation. The item's momentary resting-places pave the foundations for the individual tales. Moreover, the odyssey of said item—be it a tailcoat, a magical dress, a television, a twenty-dollar bill, a blood-stained seventeenth century violin, or a string of pearls—is often serially emplotted, or narratively recycled, along a sliding socio-economic scale, thus carving a not-so-subtle delineation of class, race and gender struggles (obviously so in Tales of Manhattan, which shows, in the final episode, the tailcoat in the hands of an impoverished African-American community; and in The Dress, when the once-beautiful frock is ripped to shreds after its last owner, a homeless person, has died). Not surprisingly, these films, by throwing into relief a system of supply-and-demand, borrowing-and-lending, italicize latent characteristics of the global consumer culture, specifically commodity fetishism (made glaring in the feverish auction house duel that ties together the chronotopic strands of The Red Violin, from imperial Vienna and Victorian England to Mao-era China and modern-day Montreal).

[iconogassed]

But I still think that you should reconsider Pulp Fiction for your collection. That watch is exactly how you like it.

Like I said, the journey of the watch is a thread in a much larger story. If the watch appeared in every story in Pulp Fiction, and was what connected all (or most) of the significant characters, then it would qualify

[amazedemon]

Should we count the Star Wars tri-trilogy. It follows a droid (R2D2) passed around over generations...from a certain point of view.