What Is a Nation? Magic Realism and National Identity in Midnight’s                 Children and Clear Light of Day

Wexler, Joyce

doi:10.1177/002198940203700209

Cited by 2 publications

(4 citation statements)

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“…The show consistently favours vitality over reality, indicated in a self-referential manner when Heffer erases the realistic cheese block Filburt has drawn for their fictional animated series and replaces it with a simplified, anthropomorphic version. As is typical with magical realism, ‘time and space obey the laws of desire rather than physics’ (Wexler, 2002: 139). Sometimes these desires are sentimental, such as when Bev Bighead’s sorrowful tears flood her house so that her husband must traverse its rooms by dinghy.…”

Section: The Animist Capitalism Of Rocko’s Modern Lifementioning

confidence: 99%

Rocko’s Magic Capitalism: Commodity Fetishism in the Magical Realism of Rocko’s Modern Life

Goss

2019

Animation

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This paper presents a textual analysis of the Nickelodeon animated series Rocko's Modern Life. Drawing from the theories of Guy Debord and Imamura Taihei, the series is posited as a revelatory lens into the spiritual crisis of late capitalism. It is then argued that the series employs magical realism to depict an animist capitalism in which the fetishisation of commodities literally brings them to life. The show's characters experience the alienation of labour as the draining of their spirit, haunting their workplaces as dead labour reanimated through the necromancy of commodity fetishism. As consumers, the characters attempt to recapture the enervated agency of their alienated selves by populating their lives with commodities. Ultimately, they are unable to find meaningful agency and spiritual fulfilment amidst the distributed agency of animated commodities. Despite its often problematic engagement with both indigeneity and animism, the close analysis of Rocko's Modern Life supports Imamura's theory that Western animation appropriates elements of indigenous animism to bring dead labour back to life in the form of fetishised commodities. It also suggests further research into the interconnection and contestation between capitalist animism and indigenous animism within animation.

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Section: The Animist Capitalism Of Rocko’s Modern Lifementioning

confidence: 99%

Rocko’s Magic Capitalism: Commodity Fetishism in the Magical Realism of Rocko’s Modern Life

Goss

2019

Animation

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“…Magical Realism is frequently perceived as a fusion of realistic and fantastical elements, resulting in a more comprehensive narrative form than either literary realism or fantasy alone [22]. This approach depicts a realistic worldview while concurrently integrating magical components, thus obscuring the boundaries between fantasy and reality [3].…”

Section: Magical Realismmentioning

confidence: 99%

“…We incorporate the concept of Magical Realism and its premise of adding magical elements and fantasy to reality [22], so to devise intuitive and meaningful interactions that align with the painting's essence. In contrast to particle systems employed for abstract visuals, commonly found in media art projects, we designate the audience's virtual embodiment as the particle emitter and FTK's Everyday Objects as particles.…”

Section: Meaningful Interactionmentioning

confidence: 99%

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Painterly Reality: Enhancing Audience Engagement with Paintings Through Interactive Art

Zhou,

Zhang,

Yip

2023

Proceedings of the 11th International Conference on Digital and Interactive Arts

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Perceiving paintings entails more than merely engaging the audience's eyes and brains; their perceptions and experiences of a painting can be intricately connected with body movement. This paper proposes an interactive art approach entitled "Painterly Reality" that facilitates the perception and interaction with paintings in a three-dimensional manner. Its objective is to promote bodily engagement with the painting (i.e., embedded body embodiment and its movement and interaction) to enhance the audience's experience, while maintaining its essence.Unlike two-dimensional interactions, this approach constructs the Painterly Reality by capturing the audience's body embodiment in real-time and embedding into a three-dimensional painterly world derived from a given painting input. Through their body embodiment, the audience can navigate the painterly world and play with the magical realism (i.e., interactive painterly objects), fostering meaningful experiences via interactions. The Painterly Reality is subsequently projected through an Augmented Reality Mirror as a live painting and displayed in front of the audience.Hence, the audience can gain enhanced experiences through bodily engagement while simultaneously viewing and appreciating the live painting. The paper implements the proposed approach as an interactive artwork, entitled "Everyday Conjunctive, " with Fong Tse Ka's painting and installs in a local museum, which successfully enhances audience experience through bodily engagement.CCS Concepts: • Applied computing → Media arts; • Human-centered computing → Mixed / augmented reality.

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What Is a Nation? Magic Realism and National Identity in Midnight’s Children and Clear Light of Day

Cited by 2 publications

References 0 publications

Rocko’s Magic Capitalism: Commodity Fetishism in the Magical Realism of Rocko’s Modern Life

Rocko’s Magic Capitalism: Commodity Fetishism in the Magical Realism of Rocko’s Modern Life

Painterly Reality: Enhancing Audience Engagement with Paintings Through Interactive Art

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