MAGICAL REALISM IN TRANSNATIONAL CINEMA - Doctoral Dissertation - August 2020

Aug 20, 2026

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An analysis of the magical realist genre in cinema, focusing on its multiple forms within transnational filmmaking. The project challenges magical realism’s status as a conventional film genre, arguing instead that it functions best as a transgeneric critical category. It extends literary-theory debates into film study, summarizing criticism history and emphasizing semiotic differences between literature and cinema. The study examines how metafiction, historicity, and marginalized subjectivities (class, gender, race, and sexual identity) operate in distinct thematic sections, ending with the possibility of utopian discourses in late-capitalist contexts.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages275

Reading Time11 h 33 min

AccessFree to download

Abstract

Chapter 1. Introduction

Chapter 2. Magical Icons and Magical Words

Chapter 3. The Construction of Reality and Fantasy in Magical Realism

Chapter 4. Magical Metafiction

Chapter 5. Fantastic Historicity

Chapter 6. Oppositional Subjectivities and the Expansion of Reality

Chapter 7. The Utopian Dimension in Magical Realist Cinema

Chapter 8. Conclusions

Bibliography

MAGICAL REALISM IN TRANSNATIONAL CINEMA CODY LANG A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN CINEMA AND MEDIA STUDIES YORK UNIVERSITY TORONTO, ONTARIO August 2020 © Cody Lang, 2020 ii Abstract This project is an analysis of the magical realist genre in cinema, specifically its multiple forms found in transnational cinema. The status of magical realism in film as a genre will be questioned and this project argues that the concept is best understand as a transgeneric critical category rather than a genre in the conventional understanding of the term. Magical realism as academic concept has been discussed in-depth in literary theory and this project extends those discussions into the field of cinema. The history of criticism of magical realism is summarized as it applies to studying film with special attention given towards the semiotic differences between literature and cinema. Furthermore, this project explicates the distinct ways that magical realism operates in cinema in contrast to literature while also noting the shared aesthetic strategies between each media. Each section covers a thematic topic observed in transnational magical realist cinema: metafiction in overt and covert forms; the representation of historicity; and the representation of marginalized subjectivities, specifically looking at how magical realist cinema presents issues of class, gender, race, and sexual identity. The final thematic discussion discusses the possibility of utopian discourses in magical realist cinema, the attempts to envision a less exploitative social collective according to a variety of cultural and national contexts in late-capitalism. Key films discussed in this project include: Death by Hanging (1968), Underground (1995), Naked Lunch (1991), Celine and Julie Go Boating (1974), Miracle in Milan (1951), The Tin Drum (1979), Synecdoche, New York (2008), Tropical Malady (2004), Gozu (2003), Daughters ofthe Dust (1991) among many other works. iii Acknowledgements I want to thank my supervisory committee, Dr. Arthur Redding and Dr. Sharon Hayashi, and my supervisor Dr. Scott Forsyth. I want to thank my examiners Dr. Susan Ingram and Dr. Malini Guha and Dr. Janine Marchessault for chairing my oral exam. I also want to thank Kuowei Lee for all of his help during my time at York University. I would also like to thank CUPE 3903 for their support during my time as an employee at York University. Finally, I want to thank my parents, Barry and Denise Lang, my in-laws Dr. Peter Victor and Dr. Maria Paez-Victor, and my family Carmen, Rio, and Sacha for their support. iv Table of Contents Abstract ........................................................................................................................................... ii Acknowledgements........................................................................................................................ iii Table of Contents ........................................................................................................................... iv Chapter 1. Introduction ................................................................................................................... 1 Chapter 2. Magical Icons and Magical Words.............................................................................. 35 Chapter 3. The Construction of Reality and Fantasy in Magical Realism.................................... 66 Chapter 4. Magical Metafiction .................................................................................................... 93 Chapter 5. Fantastic Historicity .................................................................................................. 135 Chapter 6. Oppositional Subjectivities and the Expansion of Reality ........................................ 177 Chapter 7. The Ut

FAQs

What does the dissertation argue about magical realism’s status in film?

It argues that magical realism is better understood as a transgeneric critical category rather than a conventional film genre.

Which thematic areas are analyzed in transnational magical realist cinema?

The study covers metafiction, the representation of historicity, and marginalized subjectivities, including class, gender, race, and sexual identity.

How does the dissertation compare magical realism in cinema with literature?

It outlines semiotic and operational differences between the media while also identifying shared aesthetic strategies used across both.

Aug 20, 2026

Uploaded by Mia