Study On The Magic Realism In Emir Kusturica’s Films

The famous Bosnian writer Ivo Andric(1892-1975)had won the Nobel Prize for Literature in 1961 with the "Bosnian Trilogy".In this turbulent land of the Balkans,there has always been a literary tradition of magical realism."Art director","Exile director","Film genius" and other labels,for Emir Kusturica personally,swept the darlings of International film festivals and won the "Grand Slam" in Europe contemporary film master.In 1981,Emir Kusturica made his first feature film "Do You Remember Dolly Bell?",which won the 38th Venice International Film Festival Virgo prize lion prize.Four years later,"When Dad Was Away On Business " had won the 38th Cannes International Film Festival Golden Palm Award......Emir Kusturica becames the most popular director in the Balkans.As the object and content,it is a multi-ethnic,multi-faith magic consciousness,a display of war and magical nature in the Balkan Peninsula;as a method and medium,magic realism is an artistic exaggeration and artistic association,a reality-based and aesthetic strategies based on ideology.The Eastern European reality represented by the magical realism in Kusturica’s image is not only rooted in the historical,religious and cultural expression of personal experience,but also transcends Slavic humanistic attention under the suppression of the forum’s ideology.This thesis is based on textual interpretation,supplemented by film history and film criticism,and combined with the classic Kusturica texts and cases as foundation.Systematic argumentation research.Specifically,the article was divided into four parts.The first part starts with the historical era of Kusturica,draws out the historical context and film overview of Kusturica,the realistic source of the magical realism aesthetics in Kusturica’s films,;the second part cuts in the classic text of the Kusturica film and refines the choice of the magic realism film in personal,family,history,war,myth,legend and other subjects,exploring the relationship between Kusturica’s realistic imprints and film works.The third part analyzes the text prototype and intertextuality research in Kusturica’s film,and puts forward the prospect of the magic realism film in Balkan film.