The way we look at nineteenth-century English social realism and appreciate the working classes of the emerging industrial revolution.
Some philosophical arguments (e.g., in connection with the mind/body problem) look pretty good, while others (e.g., those that criticize moral realism) do not.
I am now a decided non-naturalist realist. And today we may even speak of a trend towards non-naturalist moral realism.
Revolutionary realism tries to draw the maximum advantage from every situation - that is what makes it revolutionary - but at the same time it does not permit us to set ourselves fantastic aims - that is what makes it realistic.
People want to see realism in action now. People want the actors to perform than the computers performing. Though I have done both, I enjoy the realism of action more.
What's impossible not to notice, though - it's all around us - is the diminution of American prose: How pedestrian it has become. Pick up any short story and listen to its voice, the tedious easy vernacular that mistakes transcription for realism. This would display an understandable pragmatism if it were a pandering to common-denominator readers; but it is, in fact, a kind of hifalultin literary ideology, the less-is-more Hemingway legacy put through an up-to-the-minute industrial blender.
India went through a dramatic revolution after the '90s when our economy started opening up for the first time and Indians were now experiencing the Western life, if you will. Drugs and sex and a lot of those influences came in as the economy stabilized, and we were growing up and experiencing that. The Indian writing market was very small at that time. Our literature was very attuned to what Western audiences were interested in, so everybody was writing about the slums in India and magic realism or stories about Hindus and Muslims and partition.
For me, "Zoo" has always been a fable. It has nothing to do with realism. It's a fable about what man is doing to the world, and the animals have retribution. But in the real world, this would not happen. But in the world of 1984, this kind of thing can happen in a story.
Magic realism - somebody used that phrase the other day that is familiar with South American literature. That rang a bell. It resonates with me.
The core of the film [Hunt for the Wilderpeople] is that relationship. Whether they're getting on or whether they're not. If that relationship works, then everything else works as well. And you kind of almost, sort of, gives into a realm of something like New Zealand magic realism... There is no world in which social work is actually pursues some kid into the woods in this manner.
Lenin thought abstract art was a conspiracy by the bourgeois to demoralize the proletariat. Yeah, socialist realism!
My thesis in terms of all my art is finding the beauty in the ugly truth. Just find the beauty in realism and what's there.
One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.
Realism's anxieties are not my anxieties, but I think I've had its tools close at hand all along. It may be that I'm reaching for them more often than I used to. On the other hand, I'm making no promises for the future. The material itself always gets the last word.
The principle of realism means denial of the ideal.
You're right, super-realism is back in style.
However, it can't be helped; mothers, if they do their job properly, are the representatives of the hard, demanding world and it is they who gradually introduce reality which is so often the enemy of impulse. There is anger with mother and hatred is somewhere even when there is absolutely no doubt of love that is mixed with adoration.
So far Unitarian realism claiming to possess positive knowledge about Ultimate Reality has succeeded only by excluding large areas of phenomena or by declaring, without proof, that they could be reduced to basic theory, which, in this connection, means elementary particle physics.
Because Christianity is a religion of death, it could be treated with the utmost realism, and it could have its orgies, just likethe old religion of nature and life.
Realism and art cannot live together.
Neither realism nor romance furnishes a more striking and picturesque figure than that of Christopher Columbus. The mystery about his origin heightens the charm of his story.
An illusion which is a real experience is worth having.
It should be quite clear, then, that there are no criteria to be laid down in general for distinguishing the real from the not real.
It is the same among the men and women, as among the silent trees; always a referred existence, an absence, never a presence and satisfaction. Is it, that beauty can never be grasped? In persons and in landscape is equally inaccessible?
Illusion, Temperament, Succession, Surface, Surprise, Reality, Subjectiveness,--these are the threads on the loom of time, these are the lords of life.
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