Grounded real locations give inner-space dream sequences their power

Evidence

Rudkin says on the DVD commentary that the alien planet which we appear to see at the start of the film belongs to inner space. It is never clear when we exit inner space. But the film gains a great deal of power from grounding this inner space in what you might call found locations: the ferry terminal at Harwich; a power station in North Wales, which during the time of filming was under construction, and which becomes the entry to hell; and perhaps most memorably of all, the interior of the Anglican cathedral in Liverpool, which the BBC crew were not only given permission to use — they were also allowed to clear out all the pews, making for some astonishing oneiric images. — Mark Fisher (edited by Darren Ambrose), K-Punk, 643

Categorization

• XREF: The ‘found locations’ technique resembles the discussion of Kafka’s dream geography making abstract fear concrete in chapter 15 — connects to: Reality’s coherence depends on a reserve of un-mapped imaginary territory — Jean Baudrillard, Simulacra and Simulation, 403; Crossing into human time transforms fragmented space into coherent place. — David Harvey, The Condition of Postmodernity: An…, 2015

Broader Connections

• Reality’s coherence depends on a reserve of un-mapped imaginary territory #complicates (0.75) — Jean Baudrillard, Simulacra and Simulation, 403
• Crossing into human time transforms fragmented space into coherent place. #corroborates (0.75) — David Harvey, The Condition of Postmodernity, 2015