Dreamtime

Dreamtime (also dream time, dream-time) is a term for the animist framework and symbol system of Australian Aboriginal mythology, introduced by anthropologist A. P. Elkin in 1938 and popularised by anthropologist William Edward Hanley Stanner and others from the 1970s for a concept of "time out of time", or "everywhen", inhabited by ancestral figures, often of heroic proportions or with supernatural abilities, but not considered "gods" as they do not control the material world and are not worshipped.

The term is based on a rendition of the indigenous (Arandic) word alcheringa, used by the Aranda (Arunta, Arrernte) people of Central Australia, although it appears that it is based on a misunderstanding or mistranslation, and the word has a meaning closer to "eternal, uncreated". However, "Dreamtime" and "the Dreaming" has acquired its own currency in 1980s popular culture based on idealised or fictionalised conceptions of Australian mythology. Since the 1970s, "Dreaming" and "Dream time" has also returned from academic usage via popular culture and tourism, and is now ubiquitous in the English vocabulary of indigenous Australians in a kind of "self-fulfilling academic prophecy".

Pink Dream

Pink Dream (Chinese: 粉红色的梦/粉紅色的夢; pinyin: Fěn hóng sè de mèng) is a 1932 Chinese silent film and an early film by director Cai Chusheng. A melodrama, the film's pointed critique of the decadent urban lifestyle was nevertheless met with criticism by Shanghai's progressives, who regarded the film itself as decadent and excessively influenced by American cinema, particularly the film's numerous scenes of Shanghai's dance halls. Today the film is generally regarded as Cai's last film before his turn towards more overtly leftist films.

It is sometimes translated as A Dream in Pink. An extant print of the film is maintained by the China Film Archives.

Plot

Pink Dream tells the story of a young novelist who is supported by a loving and hard-working wife. The novelist, however, is drawn to the decadent life of a socialite who introduces him to the dance halls that dot Shanghai. As the film progresses, the novelist soon learns of the emptiness of this urban existence and rejects it as a "pink dream."