A Call for Storytelling in Family Medicine Education William Ventres, MD, MA; Paul Gross, MD

Total Page:16

File Type:pdf, Size:1020Kb

A Call for Storytelling in Family Medicine Education William Ventres, MD, MA; Paul Gross, MD SPECIAL ARTICLE Getting Started: A Call for Storytelling in Family Medicine Education William Ventres, MD, MA; Paul Gross, MD BACKGROUND: In this article we introduce family medicine edu- conclude by presenting the basic cators to storytelling as an important teaching tool. We describe components of effective stories and how stories are a critical part of the work of family physicians. We describing how to integrate the prac- review the rationales for family medicine educators to become tice of storytelling into family medi- skilled storytellers. We present the components of effective sto- cine education. ries, proposing two different perspectives on how to imagine, con- struct, and present them. We provide a list of resources for getting Background and Rationale started in storytelling and offer two personal vignettes that ar- Stories, Clinical Practice, and ticulate the importance of storytelling in the authors’ respective professional developments. We point the way forward for family Professional Development medicine educators interested in integrating storytelling into their The practice of family medicine (and, repertoire of teaching skills. in fact, all the generalist medical dis- ciplines) is integrally involved with (Fam Med 2016;48(9):682-7.) the telling of stories.1 Numerous practitioners and scholars from psy- chology, narrative studies, the medi- tories make differences in our medicine. It also reminds us just cal humanities, medical ethics, and care of patients. They help us how challenging it is for family med- medical education have discussed Sthink about our patients and icine educators to teach the skills of the crucial role that the telling, in- their family members. They help listening to and telling stories in cur- terpretation, and reconstruction of us integrate our understandings of rent training environments. Unfor- stories play in the process and out- symptoms, laboratory tests, and dis- tunately, as well, instruction about come of clinical encounters: patients ease. They help us translate those un- how to cultivate skills as storytell- relate their illness experiences in derstandings into the way we care for ers in family medicine education is terms familiar to them; clinicians lis- other patients. virtually nonexistent. ten to these presentations, draw out It would mean a lot if we could We admit there exist significant details through their questions, and convince medical students and resi- barriers to integrating stories, either reformat them as medical informa- dents of the essential nature of sto- as listeners or as tellers, in contem- tion by way of SOAP notes (having ries and storytelling in the practice porary medical education. Accord- added objective data from physical of family medicine. Expecting them ingly, in this article we describe how examinations, laboratory tests, and 2-7 to listen to, relate, and create stories stories play a critical part of the clin- diagnostic procedures). isn’t just wishful thinking: it is a ical work and the educational de- The net result is the creation of learned skill, just as are all the other velopment of family physicians. We therapeutic strategies that attend learned skills that go into the mak- introduce family medicine educators ing of a family physician. to storytelling as a valuable teach- ing tool and review the rationales From the Institute for Studies in History, Anthropology, and Archeology, University of A Family Physician Educator, 2015 for them becoming skilled storytell- El Salvador, San Salvador, El Salvador, and ers. In two vignettes we illustrate Department of Family Medicine, Oregon This opening comment tells us how storytelling has become part Health & Sciences University (Dr Ventres); and Department of Family and Social Medicine, much about the importance of stories of our educational philosophies and Montefiore Medical Center and Albert Einstein in the day-to-day practice of family repertoires of teaching habits. We College of Medicine, Bronx, NY (Dr Gross) 682 OCTOBER 2016 • VOL. 48, NO. 9 FAMILY MEDICINE SPECIAL ARTICLE to the traditional goals of curing team, and stories help them han- by patient- and relationship-centered and caring.8 That stories contribute dle their grief, find solace in one an- care—is foundational to generalist to this progression—they are the raw other, and develop resiliency. (After practice theory; bringing connection material from which practitioners the death of a patient, team mem- to teaching through storytelling re- and patients refine clinical paths— bers might share among themselves inforces its parallel power in clinical has consistently been considered a their connections with the deceased encounters.23 Third, if you don’t tell hallmark of high-quality generalist or how the patient’s death has influ- your story, someone else will—and medical care.9 Stories help family enced them.) they will set the priorities for how physicians and others understand • when faculty members want to we define and accomplish the work the interplay of biomedical and so- model for learners how they have we do.24 cial determinants of disease while managed (with varying degrees of they are attending to critical transi- success) the same challenges that How to Tell Stories: First Steps tional moments in the course of pa- learners are struggling with, and sto- There are many recommendations tients’ lives.10 ries are able to “show,” rather than for how to construct and relate sto- As to professional identity de- “tell,” the way forward. ries, regardless of mode of presenta- velopment,11 many physicians-in- Storytelling may also be useful in tion (oral, written, or audio-visual). training have used stories to tell of opening learners’ clinical imagina- Some are centuries old and drawn overcoming clinical challenges and tions, fostering reflective practice, from traditional storytelling prac- managing steep learning curves.12-14 and enhancing clinicians’ abilities to tices in existence prior to the writ- Yet few narratives explore the in- understand the complexities of mod- ten word.25 Others, like the five-step tentional use of stories by educa- ern medical care.17 Sharing stories, plot line common in Shakespeare’s tors of physicians or others involved especially when framed in terms works—exposition, rising action, in health care.15 However, we sus- of crisis and resolution, is thought turning point, falling action, and con- pect that many readers can recall to encourage professional empa- clusion—got their start in theater.26 when teachers’ stories have helped thy in response to the vulnerability Still others have come out of new- shape their career development. We and loss that commonly accompa- er technologies, like movies, digital can personally attest to their sub- ny illness experiences.18 In addition, documentaries, and podcasts.27 Ad- stantial influence on our profession- stories are useful for purposes of per- ditionally, there are a wide variety of al growths. suasion.19 As such, storytelling from ideas on building and telling stories a family medicine perspective is im- that have philosophical foundations Storytelling as an Important portant in an era when tales of sub- (though well beyond the scope of this Teaching Tool subspecialist- and technology-driven introductory article): the hero’s sto- Due to this recognition, we rec- care dominate over those related to ry, the heroine’s story, and stories ommend that teachers of family comprehensive, accessible, patient- of collective memory and reconcili- medicine expand their skills at story- oriented care.20 ation are but a few illustrative ex- telling, regardless of whether or not amples.27-29 they believe they currently possess Implementation For family physicians interested in the knack to tell stories effectively. Preliminary Considerations incorporating storytelling into their By crafting and telling stories, they Family medicine educators interest- repertoires of teaching strategies, can model the many dimensions of ed in cultivating their oral, written, we suggest two possible introduc- patient care that form the basis for or digital storytelling skills will be tory approaches for getting started, our discipline.16 By including story- well served by keeping the follow- approaches that have served as our telling in their teaching repertoires, ing adages in mind. First, good pre- guides in our own growths as story- they can help their learners grow senters are good storytellers. There tellers. The first, described in Table 1, into thoughtful, capable, and confi- are many ways to share knowledge, follows several process- and outcome- dent generalist clinicians, adroit in but teachers of medicine are often oriented themes. These themes con- embracing both the science and art guilty of pushing facts out to our dense the fine art of storytelling into of medicine as therapeutic tools. audience. Pulling students and res- five manageable dimensions, each a Storytelling, whether oral, written, idents in with stories helps concepts series of three associated steps. The or by way of digital documentaries, stick more firmly and is more satis- second approach, noted in Table 2, is particularly useful in such fam- fying (or at least less boring) to both follows a sequence of questions to be ily medicine educational settings as: tellers and listeners alike.21 Second, used as prompts for considering how • when teaching biomedical infor- storytelling is about connecting to to construct and tell stories. These mation, and stories give the infor- other people and helping
Recommended publications
  • What Literature Knows: Forays Into Literary Knowledge Production
    Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism.
    [Show full text]
  • Genres of Experience: Three Articles on Literacy Narratives and Academic Research Writing
    GENRES OF EXPERIENCE: THREE ARTICLES ON LITERACY NARRATIVES AND ACADEMIC RESEARCH WRITING By Ann M. Lawrence A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Rhetoric and Writing – Doctor Of Philosophy 2014 ABSTRACT GENRES OF EXPERIENCE: THREE ARTICLES ON LITERACY NARRATIVES AND ACADEMIC RESEARCH WRITING By Ann M. Lawrence This dissertation collects three articles that emerged from my work as a teacher and a researcher. In Chapter One, I share curricular resources that I designed as a teacher of research literacies to encourage qualitative research writers in (English) education to engage creatively and critically with the aesthetics of their research-writing processes and to narrate their experiences in dialogues with others. Specifically, I present three heuristics for writing and revising qualitative research articles in (English) education: “PAGE” (Purpose, Audience, Genre, Engagement), “Problem Posing, Problem Addressing, Problem Posing,” and “The Three INs” (INtroduction, INsertion, INterpretation). In explaining these heuristics, I describe the rhetorical functions and conventional structure of all of the major sections of qualitative research articles, and show how the problem for study brings the rhetorical “jobs” of each section into purposive relationship with those of the other sections. Together, the three curricular resources that I offer in this chapter prompt writers to connect general rhetorical concerns with specific writing moves and to approach qualitative research writing as a strategic art. Chapters Two and Three emerged from research inspired by my teaching, during which writers shared with me personal literacy narratives, or autobiographical accounts related to their experiences with academic research writing.
    [Show full text]
  • Anecdotes and Mimesis in Visual Music
    Diego Garro The poetry of things: anecdotes and mimesis in Visual Music ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- The poetry of things: anecdotes and mimesis in Visual Music DIEGO GARRO Keele University, School of Humanities – Music and Music Technology, The Clockhouse, Keele ST5 5BG, UK E-mail: [email protected] I. INTRODUCTION Ten years into the third millennium, Visual Music is a discipline firmly rooted in the vast array of digital arts, more diversified than ever in myriads of creative streams, diverging, intersecting, existing in parallel artistic universes, often contiguous, unaware of each other, perhaps, yet under the common denominator of more and more sophisticated media technology. Computers and dedicated software applications, allow us to create, by means of sound and animation synthesis, audio-visuals entirely in the digital domain. In line with the spectro-morphological tradition of much of the electroacoustic repertoire, Visual Music works produced by artists of sonic arts provenance, are predominantly abstract, especially in terms of the imagery they resort to. Nonetheless, despite the ensuing non-representational idiom that typifies many Visual Music works, composers enjoyed the riveting opportunity to employ material, both audio and video, which possess clear mimetic potential (Emmerson 1986, p.17), intended here as the ability to imitate nature or refer to it, more or less faithfully and literally. Composers working in the electronic media still enjoy the process of ‘capturing’ events from the real world and use them, with various strategies, as building blocks for time-based compositions. Therefore, before making their way into the darkness of computer-based studios, they still use microphones and video-cameras to harvest sounds, images, ideas, fragments, anecdotes to be thrown into the prolific cauldron of a compositional kitchen-laboratory-studio.
    [Show full text]
  • Cypriot English Literature: a Stranger at the Feast Locally and Globally
    Kunapipi Volume 33 Issue 1 Article 9 2011 Cypriot english literature: A stranger at the feast locally and globally Marios Vasiliou Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Vasiliou, Marios, Cypriot english literature: A stranger at the feast locally and globally, Kunapipi, 33(1), 2011. Available at:https://ro.uow.edu.au/kunapipi/vol33/iss1/9 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Cypriot english literature: A stranger at the feast locally and globally Abstract My focus in this essay revolves around a corpus of literature written by Cypriots in English that has yet to define itself either as a hyphened branch of a national literature or as a minor independent category. So from the outset, my paper has a twofold task: firstly, to draw attention to the paradoxical position of Cypriot English writers who remain outside the literary feast both at home and abroad; and secondly, to explore the literary vicissitudes of some works of this corpus, and to examine how their minor position locally in relation to the dominant literatures in Greek and Turkish, and internationally in relation to global English — a position that Deleuze and Guattari (1986) describe as ‘minor literature’— has engendered syncretic aesthetics. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol33/iss1/9 83 MARIoS VASILIou cypriot English Literature: A Stranger at the Feast Locally and Globally My focus in this essay revolves around a corpus of literature written by Cypriots in English that has yet to define itself either as a hyphened branch of a national literature or as a minor independent category.
    [Show full text]
  • Uncovering and Recovering the Popular Romance Novel A
    Uncovering and Recovering the Popular Romance Novel A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jayashree Kamble IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Timothy Brennan December 2008 © Jayashree Sambhaji Kamble, December 2008 Acknowledgements I thank the members of my dissertation committee, particularly my adviser, Dr. Tim Brennan. Your faith and guidance have been invaluable gifts, your work an inspiration. My thanks also go to other members of the faculty and staff in the English Department at the University of Minnesota, who have helped me negotiate the path to this moment. My graduate career has been supported by fellowships and grants from the University of Minnesota’s Graduate School, the University of Minnesota’s Department of English, the University of Minnesota’s Graduate and Professional Student Assembly, and the Romance Writers of America, and I convey my thanks to all of them. Most of all, I would like to express my gratitude to my long-suffering family and friends, who have been patient, generous, understanding, and supportive. Sunil, Teresa, Kristin, Madhurima, Kris, Katie, Kirsten, Anne, and the many others who have encouraged me— I consider myself very lucky to have your affection. Shukriya. Merci. Dhanyavad. i Dedication This dissertation is dedicated to my parents, Shashikala Kamble and Sambhaji Kamble. ii Abstract Popular romance novels are a twentieth- and twenty-first century literary form defined by a material association with pulp publishing, a conceptual one with courtship narrative, and a brand association with particular author-publisher combinations.
    [Show full text]
  • A Vignette Model for Distributed Teaching and Learning
    A vignette model for distributed teaching and learning Marcel Chaloupka and Tony Koppi Centre forTeaching and Learning, University of Sydney Computer software and telecommunication technologies are being assimilated into the education sector. At a slower pace, educational methodologies have been evolving and gradually adopted by educators. The widespread and rapid assimilation of technology may be outstripping the uptake of better pedagogical strategies. Non-pedagogical development of content could lead to the development of legacy systems that constrain future developments. Problems have arisen with computer-based learning (CBL) materials, such as the lack of uptake of monolithic programmes that cannot be easily changed to keep pace with natural progress or the different requirements of different teachers and institutions. Also, hypertext/hypermedia learning environments have limitations in that following predefined paths is no more interactive thanpage turning. These considerations require a flexible and dynamic approach for the benefit of both the teacher and student. Courses may be constructed from vignettes to meet a desired purpose and to avoid the problems of adoption for the reasons that programmes cannot easily be changed or are not designed to meet particular needs. Vignettes are small, first-principle, first-person, heuristic activities (which are mimetic) from which courses can be constructed Vignettes use an object- orientated approach to the development of computer-based learning materials. Vignettes are objects that can be manipulated via a property sheet, which enables changing the object's inherent character or behaviour. A vignette object can interact with other vignette objects to create more complex educational interactions or models. The vignette approach leads to a development concept that is horizontally distributed across disciplines rather than vertically limited to single subjects.
    [Show full text]
  • Style Brings in Mental States1
    Lisa Zunshine University of Kentucky Style Brings in Mental States1 I Much of what I write these days is an elaboration of Alan Palmer’s argument that “novel reading is mind-reading.” Here, too, I take up one aspect of that argument and consider it in light of my recent experience of studying fiction in a lab with fMRI equipment. (Well, not really—we are actually very far from approaching actual works of literature with brain imaging technology—but as close as I have come to doing so.) As Palmer observes in his target essay for this volume, to claim that we understand the actions of fictional characters by uncovering “the mental network” behind them, is not to flatten out the undeniable differences between novels, or to make impossible any worth- while distinctions between them. To say that the reader can only follow the actions of the characters in Henry Fielding’s Tom Jones (1749) by following the thought processes behind those actions is certainly not to say that it is the same sort of novel as James Joyce’s Ulysses (1922). Of course the two are different. And again, later in the essay, [An] understanding of characters’ thought processes is as necessary for Tom Jones as it is for Ulysses. I cannot find any way of retreating from the universality of my claim. Equally, I do not see any way in which this claim is a refusal to acknowledge the astonishing and endless variety of narrative. To say so would be like suggesting that I am trying to flatten out fictional variation by pointing out that Ulysses and Dan Brown’s The Da Vinci Code use exactly the same 26 letters of the alphabet! Palmer identifies here what constitutes both a problem and a “major cultural studies research project.” If fiction is all about mind-reading, then the burden is on us (i.e., on cognitive literary critics) to explain why reading Ulysses feels so strikingly different from reading Tom Jones (not to mention The Da Vinci Code!).
    [Show full text]
  • Unit Plan the House on Mango Street
    Unit Plan The House on Mango Street By Jessica DeMarie Fall 2005 Introduction Unit: The House on Mango Street 9th grade 50-minute periods 3 weeks Overview: This unit plan is for the novel The House on Mango Street by Sandra Cisneros. The unit will be taught over the course of three weeks. There will be a variety of activities and strategies used over the three weeks, as well as a final writing project and an evaluative exam. As it is a multicultural novel, culture will in fact be a supplemental part of the overall unit. Students will learn several important concepts and will be able to relate much of the content of the unit to their own lives. Theme: The theme of this unit plan is identity and finding ones own identity in the process of growing up. In the novel we see the main character Esperanza growing up and finding out who she really is. She identifies herself with her name, her house on Mango Street, and her cultural heritage. Her home becomes a part of her and makes her who she is. This unit plan explores these ideas from the novel and relates them to the students’ own lives as well. Concept: There are several concepts covered throughout this unit. Students will learn about literary elements such as theme, symbolism, and juxtaposition. They will also learn about culture – what it means to Esperanza as well as what it means to themselves. Many different themes from the novel will be analyzed and related to the main theme of the unit, identity.
    [Show full text]
  • Introduction Mimesis in Theory and in Cultural History
    ᫂ Introduction Mimesis in Theory and in Cultural History JEANNETTE MAGEO How do people meet and fathom one another in transcultural encounters? What do they reap from such encounters? How do they bridge boundaries, reaching out to a transcultural Other? Alternatively, how do they establish boundaries or fail to do so, falling instead under the spell of a transcultural Other? Our answer in this volume is this : through mimesis. In the West, the concept of mimesis has been around at least since Plato, who sees art as mi- mesis and the artist as a copyist. For Plato in Th e Republic (1968) life is a dim copy of ideal forms and art a yet dimmer copy. Aristotle in the Poetics (1927) also sees art as mimesis, but for him art creates a special contemplative state of mind, a balance point or special zone poised between identifi cation with a fl awed hero and the distance inspired by his tragic fate. In this introduction I take mimesis to be making likenesses and, like Ar- istotle, a way to negotiate identifi cation and dis-identifi cation. Making like- nesses can be manifest in performances (mime or parody, for example) or productions (ritual or art), or can simply proceed within a person’s mind. Indeed, Pacifi c Islanders in the arts of caricature, theater, costume, carving, and more, have long used mimesis to contemplate transcultural encounters as many of the essays to follow show. I begin here by off ering a model of mimesis as a mode of thinking, feeling, and contemplation, one that suggests how this mode of processing experience lends itself to intercultural identifi cations and dis-identifi cations and can help bring to light Pacifi c Islanders’ and their visi- tors’ mental and emotional reactions to encounters between them.
    [Show full text]
  • The Romance Novel Cover
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-5-2018 The Romance Novel Cover Jessica D. Spears CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/350 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Romance Novel Cover by Jessica Spears Submitted in partial fulfillment of the Requirements for the degree of Masters of Arts (Art History), Hunter College, The City University of New York 2018 Thesis Sponsor: May 5, 2018 Maria Antonella Pelizzari Date Signature May 5, 2018 Thomas LaPadula Date Signature of Second Reader “The Romance Novel Cover” by Jessica Spears copyright and related rights waived via CC0 “I hereby waive all copyright and related or neighboring rights together with all associated claims and causes of action with respect to this work to the extent possible under the law.” All Images use is Restricted and not included under the Creative Commons 0. Table of Contents List of Illustrations . ii Introduction . 1 Chapter 1: The History of Paperback Publishing and Paperback Covers . 9 Chapter 2: The Nature of Big Book Historical Romance Covers . 24 Chapter 3: Images of Feminine Power and Submission . 35 Chapter 4: The Shame of Being Seen to Read Romance . 48 Chapter 5: Romance’s Relationship with Pornography and Sexual Advertising . 60 Chapter 6: The Male Figure on 1990s Romance Covers .
    [Show full text]
  • Verse Or Vignette Post-Visit Activity Grades/Level: Middle – High School (6+) Subjects: English Time Required: Variable
    Verse or Vignette Post-Visit Activity Grades/Level: Middle – High School (6+) Subjects: English Time Required: Variable Activity Overview Take inspiration from your visit to Castle in the Clouds to pen a poem or evocative description based on your experience. Learning Objectives Youths will review common styles of poetry and descriptive writing. Youths will create original poetry or prose, following the given writing process. Youths will reproduce writing skills such as rhythm, rhyming, and descriptive vocabulary. Activity Steps 1.) Read “Lucknow” on the following pages, or use the QR code or link to hear a reading of the poem. https://youtu.be/WDtGFPJv9JM 2.) Reflect on Olive’s inspiration for writing this poem. What experiences and emotions does she explore in verse? 3.) Either, use the link or QR code at right to review the characteristics of different styles of poetry, https://www.literacyideas.com/latest/2018/3/1/7-poetry- forms-every-teacher-should-be-teaching-and-why-they- should-be-teaching-them 4.) Or, review the characteristics of short stories, flash fiction, and vignettes on the following pages. 5.) Choose a style of poetry or prose to emulate. 6.) Reflect on your visit to Castle in the Clouds, making note of memorable experiences. What did you do during your visit? What did you see, hear, smell, taste, and touch? What emotions did you feel and what were those emotions linked to? 7.) Use your reflections from the previous step as inspiration in drafting your own poem or vignette. PO BOX 687 ~ 455 OLD MOUNTAIN ROAD ~ RTE 171 ~ MOULTONBOROUGH, NH 03254 ~WWW.CASTLEINTHECLOUDS.ORG ~ 603-476-5900 PO BOX 687 ~ 455 OLD MOUNTAIN ROAD ~ RTE 171 ~ MOULTONBOROUGH, NH 03254 ~WWW.CASTLEINTHECLOUDS.ORG ~ 603-476-5900 What Is the Difference Between a Vignette, a Short Story, and Flash Fiction? Vignettes are sometimes confused with short stories and flash fiction, but there is one major difference between them: Short stories and flash fiction are complete works, while a vignette is a smaller part of a story.
    [Show full text]
  • Magical Realism in Transnational Cinema
    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.
    [Show full text]