Friday, March 22, 2019

Magical Realism in Camus’ Black Orpheus and Zakes Mda’s Ways of Dying E

Magical Realism in Camus Black Orpheus and Zakes Mdas ship canal of DyingMyth and reality have gone hand in hand in every culture since the beginnings of time because mixing the twain is an effective method of teaching values and morals the modern limit for this is sorcerous pragmatism. Because all cultures have mythical representations of behavior and death and come, the wizardly realism used in both Marcel Camus Black Orpheus and Zakes Mdas shipway of Dying is effective because, time it is specifically aimed towards either the Brazilian and southwest African cultures, it can be interpreted by both culture at all because of the universal themes it emphasizes. Mixing magical realism with realistic forms of expression allows a story to be rooted in and yet above humanity. This enables the reader to aspire to the precedents set by the characters while at the same time not feeling that they are exclusively out of reach. Dealing with cultural issues with magical realism adds a dreamlike quality to the violence, corruption, and poverty, making it more palatable than bald satinpod but at the same time adding a touch of familiarity through the common subjects of love, life, and death the three topics broached by Black Orpheus and Ways of Dying. These cultural themes are approached differently in each but both Camus and Mda address the cultural issues of Brazil and South Africa through the use of magical realism. Black Orpheus is multi cultural before the story even begins, as it is order by a cutman and set in Rio de Janeiro, Brazil this adds a authorized depth to the film that is accentuated greatly by the mix of culture, myth, and reality that is lay out within the movie itself. By mixing Greek myth, Brazilian custom, and numerous religions... ... again. Black Orpheus blends Greek and Brazilian culture with a dash of French direction in order to bring the cultural and economic problems of the Rio de Janeiro field hut towns to the global pop ulation. Marcel Camus allows people of all cultures to understand the anguish and love that Orpheus and Eurydice endure because these themes are completely universal and span the globe. Similarly, Zakes Mdas characters Noria and Toloki brush up a ray of hope through the miasma of violence that surrounds the South African culture. Mda mixes the man with the myth and uses the same universalness of life and death to change his characters into cultural icons rather than simple humans. Every cultures ship canal of dying are their ways of living, and the global themes of love and death and life will continue to invoke feelings of reverence for life, culture, and identity. (Mda, 98)

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