The Black magic: An aesthetic analysis of its illustration in the sociohorteur film: Dachra (original) (raw)
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From 1960s to the present, colonial, postcolonial, social problems and migration have been among the dominant themes of Sub-Saharan African cinema. Today, among the sub-Saharan African filmmakers who grew up in the diaspora and shot their first films in their continent, there are those who use the sixty-year-old theme of African cinema by associating the place and characters with the ghost theme in their films. Mati Diop who was born in Senegal, living in France and Mario Bastos who was born in Angola but professionally trained in USA transform their cities into a dystopian universe through the ghost phenomenon and establish national allegories through their films Atlantique (2019) and Air Conditioner (2020). Although the relationship between time and space in these films is arranged in accordance with realistic codes, the extraordinariness of the narratives makes the current political and social inequality visible. It is also seen that African filmmakers who grew up in the diaspora did not put political inequality into a single cinematic genre, they try to hybridize it. The study aims to reveal the logic of the phenomena of genre transformation and dystopian universe construction in contemporary African cinema. In the study, the descriptive analysis method was used within the notion of Jacques Derrida's hauntology concept to analyse whether there is a parallelism between the political discourse of films and film type, which are hybridization strategies directors apply. It has been seen that the films show situations such as income injustice and inequality in the post-colonial period based on basic principles borrowed from science fiction and horror cinema.
Magic Realism, World Cinema, and the Avant-Garde
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This book follows the hybrid and contradictory history of magic realism through the writings of three key figures-art historian Franz Roh, novelist Alejo Carpentier, and cultural critic Fredric Jameson-drawing links between their political, aesthetic, and philosophical ideas on art's relationship to reality. Magic realism is vast in scope, spanning almost a century, and is often confused with neighbouring styles of literature or art, most notably surrealism. The fascinating conditions of modernist Europe are complex and contradictory, a spirit that magic realism has taken on as it travels far and wide. The filmmakers and writers in this book acknowledge the importance of feeling, atmosphere, and mood to subtly provoke and resist global capitalism. Theirs is the history of magic-realist cinema. The book explores this history through the modernist avant-garde in search of a new theory of cinematic magic realism. It uncovers a resistant, geopolitical form of world cinema-moving from Europe, through Latin America and the former Soviet Union, to Thailand-that emerges from these ideas. This book is invaluable to any reader interested in world modernism(s) in relation to contemporary cinema and geopolitics. Its sustained analysis of film as a sensory, intermedial medium is of interest to scholars working across the visual arts, literature, critical theory, and film-philosophy.
The Magic of Cinema: (Re)Unifying Creativity, Art and Magic Through Kenneth Anger's Lucifer Rising
Literature & Aesthetics, Vol 29, No.1, 2019
In a secular world dominated by science, rationality and empirical evidence, the realm of the esoteric and occult is immediately classified as being subaltern and irrational; relegated to the world of make believe along with UFOs, the Loch Ness Monster, and the fairies at the bottom of the garden. An even more contemptuous suggestion to the logical Enlightened mind is the claim that art itself is a form of magical praxis with the power to affect, change, and shape the everyday world in which we live. This conceptual union of art and magic is, however, the foundation of the work of American filmmaker Kenneth Anger (b. 1927). In describing the objective of his creative work, Anger states that “making a movie is casting a spell”, claiming that he seeks to directly affect the realities of his audience through magic. Lauded as one of the most influential filmmakers of the New American Cinema, Anger’s work functions as an artistic magical ritual, fusing esoteric spirituality with experimental cinema to produce a new form of cinematic magical practice. This article will examine Anger’s final film, Lucifer Rising (1972), in an attempt to challenge traditional understandings of art and magic by reunifying the supposedly disparate concepts in its claim that art, as a form of magic, can and does affect real world change.
Theoretical Framework Islamic Motifs in Turkish Horror Films
ISLAMIC MOTIFS IN TURKISH HORROR FILMS, 2015
In this thesis, Turkish horror films, which are made after 2000, and that which consist Islamic motifs are studied. The monsters or any elements oriented with the threat, characters and other motifs are analyzed through their relation with Islam and their representations are studied first within the films respectively and then across the films in a holistic approach. The Islamic motif is first studied through Turkish history and sociology and given in its literature study in order to find the representational relations of the motifs. The films project a conflict of Islam and modernity, as a reflection of the synthesis of the East and the West that builds the basis of modern Turkish identity, and the Islamic motifs in the films stand for political functions to rebalance the conflict within the modern and Islamic elements in order to achieve a synthesis of the East and the West.