As Angel Flores, a 20th century Puerto Rican writer, puts it, magical realism transforms “the common and the everyday into the awesome and the unreal”. Readers are also forced to accept magical realism through authorial reticence, which occurs when characters in the novel express a lack of clear opinions of bout the accuracy of events and credibility of world views. This prevents the supernatural world from being questioned since making the supernatural elements explicit would eradicate a person’s position of neutrality regarding his conventional view of reality. The narrative technique of metafiction is defined by Professor Patricia Waugh, a literary critic, intellectual historian and Professor of English Literature, to be “fictional writing which self-consciously and systematically draws attention to its status as an artifact in order to pose questions about the relationship between fiction and
If a writer considers a historical situation a fresh and revealing possibility of human world, he will want to describe it as it is. Still fidelity to historical reality is a secondary matter as regards the value of the novel. The novelist is
Amaryll Chanady in her book ‘Magical Realism and Fantastic’ characterizes magical realism with two conflicting ideas, one based on an enlightened view of reality and the other one based on the acceptance of celestial as a part of this real world. Thereby, magical realism in literature defends the concurrence of real and fantastic. The narrator accepts realistic conventions, also introduces things which are not seen as real into the text. These elements are woven together in a magical realist text seamlessly. Thus the text does not only belong to the realm of fantasy but also empirical reality.
In literature, television series and film, many languages have been created by an author or linguist to support the credibility of the story, to give more depth and an appearance to the fictional worlds with which they are associated, and to have their characters communicate in a fashion which is both alien and dislocated or to perform other functions. “In the Land of Invented Languages” by Arika Okrent and “From Elvish to Klingon” by Michael Adams is two of the most influential books on fictional language where they discuss these languages very broadly. There are many constructed languages of movies and television series that people are well aware of. The main purpose of this paper is to highlight some major constructed languages and to show their influences among common people. Some
Fantasy has been variously used by novelists as well as short story writers as a convenient narrative technique; it is akin to Aristotle’s concept of marvelous. It helps the writer transcend the boundaries of the real world. According to C. S. Lewis fantasy “is a narrative that deals with impossible and preternatural.”3 But it is always rooted in realism. It provides a wider framework to the writer’s vision to reflect upon life and society of
The author also describes the ‘retro-fetishism’ associated with the directors of these types of films in creating a familiar world for which the audience can travel to and how these worlds ‘reassures its audience that the pleasures of retromania are here to stay’ (ibid). The author also explains when analysing the film Looper (2012) how this film ‘Inadvertently, it also reminds us of the stasis of Western culture and the commodification of nostalgia’ (ibid). The commodification of nostalgia and how film makers use this element to draw in audiences, can be said to be one of the most important matters when discussing nostalgia in film. Teo (2013) furthers this point in his research of
In my paper I intend to first explain different form of realism by discussing Ian Watt’s definition of realism, and the different types explained in The Rise of The Novel; Brecht and Luckas’s idea of realism inBertolt Brecht: Against George Luckas. Secondly I will discuss in brief the difference between reality and realism in a work of fiction. Thirdly, I will talk about the portrayal of reality and realism in children’s literature, using socialist realism and Brecht’s view on it, using Satyajit Ray’s Hirak Rajar Deshe, the
film theory and film form has been described in different essays, each containing its own unique style, language and depth. Diverse topics that enrich the readers include Time and the Image, Subjectivity and Perception, Film and Narrativity, Representation and Reflexivity, Film and Painting, Gender and Identity. Research study over individual directors of the likes of Welles, Antonioni, Rocher, Sembene, Greenaway and Egoyan acquaint us with their unique and innovative style of film-making and profoundness of their
Hence, through this combination, design fiction creates socialized commodities that narrate stories, things that join in the process of creating and encouraging the human imagination. Design fiction works in the space between the ego of science fact and the lively fantasy of science fiction, creating things that are both actual and simulated. It’s basically a hybrid practice that operates as a middle ground between ideas, their materialization, science fact, and science
Directors like Alfred Hitchcock, Stanley Kubrick, David Fincher and Quentin Tarantino made me fall in love with films as a medium to tell a story. All of them possess an ability to present the story of the film in a very specific way that makes their films unique and keep audiences on the edge of their seats, guessing and thinking throughout the whole feature and I find that fascinating. Analysing their methods, what types of shots they choose to use in different situations I try to understand how to present the story in the most thrilling way. Yet cinema is more than storytelling, powerful images are also a hugely important part. Some people might not feel very strongly about the importance of the aesthetic value of the film, but because of my love of visual arts I definitely do.