Instead Of Seeking A Clear Definition Of What Fantasy Is

Instead Of Seeking A Clear Definition Of What Fantasy Is Its Easier

Instead of seeking a clear definition of what fantasy is, it’s easier to think about what fantasy is not. Other genres employ conventions of realism in their narratives. When we watch a film, we have the sense that the story is taking place in the “real world” which has very real rules—such as gravity causing objects to fall downward or people not having the ability to fly. In contrast, fantasy films, or “fantastic films” as suggested by Fowkes, do not conform to these rules. A central aspect of fantasy stories is the presence of an ontological rupture—a fundamental break with our sense of reality. These stories tell about impossible phenomena that would be impossible in the real world, characterizing the genre’s signature hallmark (Fowkes).

Kenneth Van Guden’s 1989 overview categorized fantasy films into various types, including fairy-tale films, sword and sorcery, children’s fantasy, guardian angel stories, mythology, giant monsters, hidden paradises, superhero films, children as heroes, ghost films, and fabulous journeys. Later, Alec Worley, in a 2005 survey, consolidated categories into fairytale, earthbound fantasy, heroic fantasy, and epic fantasy, noting that earthbound fantasies are among the most common. Films like Tom Hanks’ Big or Demi Moore’s Ghost are examples of earthbound fantasy, where the worlds resemble our own, except for one magical or fantastic element. It is crucial to understand that genre classifications serve primarily to facilitate discussion; they are not rigid compartments, and overlaps among genres are common.

An illustrative example of a fantasy film is Darren Aronofsky’s 2006 film, The Fountain. This film explores profound themes such as love, religion, death, and sacrifice through three intertwined stories. Visually, it employs spectacular imagery to evoke epic grandeur, including a recurring motif of a golden nebula symbolizing the search for meaning in death. Such fantastical imagery could not occur in the real world, but cinema allows the creation of such effects to enhance storytelling. Juxtaposition of the fantastical with the mundane, such as characters running through snow, emphasizes the blend of the ordinary and the extraordinary that characterizes fantasy films.

Not all fantasy films feature entirely different worlds; many depict our everyday lives infused with fantastical elements. Unlike noir films, which tend to be darker and more suspicious of societal norms, fantasy films often incorporate political themes and social critiques subtly within their narratives. Such films can engage viewers in political or ethical conversations without appearing preachy. For example, The Wiz, a fantasy musical, explores themes of race and place within a fantastical version of New York City. The narrative focuses on Dorothy’s journey and race-related subtexts, such as the recurring motif of taxis refusing service to her, symbolizing racial discrimination experienced by Black urban residents. Instead of overt protest, the film employs visual storytelling—Dorothy and her companions overcoming symbolic barriers by singing and dancing atop taxis—to convey messages about resilience and self-reliance.

Fantasy cinema is not restricted to epic tales like The Lord of the Rings or Harry Potter, nor is it solely targeted at children. Instead, it encompasses a broad spectrum of films unified by their ontological break from reality. Fantasy is often blended with other genres, creating subgenres such as fantasy-horror, fantasy-comedy, and fantasy musicals. The genre’s flexibility allows filmmakers to tell stories that would be impossible or impractical in the real world, expanding the opportunities for creative storytelling and visual spectacle.

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Fantasy films represent a fascinating and diverse genre within cinema, distinguished primarily by their departure from the constraints of reality. Unlike other genres rooted in realism, where stories adhere to the laws of the observable world, fantasy films invoke an ontological rupture—introducing elements or narrative structures that defy real-world logic. This break is a hallmark of the genre, setting the stage for stories that explore mythical, supernatural, or impossible phenomena. As described by Fowkes, fantasy narratives typically feature this ontological rupture, allowing filmmakers to craft worlds and stories that challenge the boundaries of what is considered feasible in everyday life.

Classification of fantasy films has evolved over time, with various scholars attempting to categorize the diverse subgenres within the broader genre. Kenneth Van Guden’s 1989 typology included fairy-tale films, sword and sorcery, childhood fantasies, mythological stories, giant monsters, and superhero narratives, among others. Alec Worley’s later survey streamlined these into categories such as fairytale, earthbound fantasy, heroic fantasy, and epic fantasy. Earthbound fantasies, exemplified by films like Big or Ghost, are particularly prevalent, depicting worlds similar to ours with the addition of a singular magical element. These films highlight that fantasy is not confined to distant or fantastical realms but can exist within familiar environments, augmented by elements that seem impossible in the real world.

One of the most compelling aspects of fantasy cinema is its capacity for visual innovation. Darren Aronofsky’s The Fountain exemplifies this, employing spectacular imagery to explore deep philosophical themes such as love, death, and sacrifice. Through visual motifs like a golden nebula, the film conveys profound ideas about mortality and transcendence that could not be literally depicted outside of cinematic fantasy. The use of such fantastical imagery enhances the emotional and thematic resonance of the story, illustrating how fantasy allows filmmakers to visualize abstract concepts and evoke awe in audiences.

Furthermore, fantasy films often serve as vessels for social and political commentary, subtly weaving critical themes into their narratives. Unlike overt political films, fantasy movies generally embed their messages within secondary or tertiary plotlines, avoiding didacticism. For instance, The Wiz functions as a fantasy musical that explores racial themes through its allegorical setting. The recurring motif of taxis refusing service to Dorothy symbolizes real-world racial discrimination. Yet, instead of fostering protest, the film employs fantasy elements—such as magical characters and musical numbers—to communicate messages of resilience and self-empowerment. By depicting marginalized characters overcoming symbolic barriers, the film presents a nuanced critique of social inequality wrapped within a fantastical adventure.

Contrary to popular perception, fantasy is not exclusive to epic heroics or children’s stories. The genre encompasses a wide array of films that utilize the ontological break to tell diverse and innovative stories. It often blends with other genres, creating hybrid categories such as fantasy-horror, fantasy-comedy, and musical-fantasy. This versatility underscores the genre’s capacity to address complex themes, from personal identity to societal critique, within a framework that leverages the imaginative potential of fantastical worlds. Ultimately, fantasy filmmaking exemplifies the endless possibilities of cinema as a medium for storytelling beyond the limitations of reality.

References

• Block, B. (2007). The Visual Story. Burlington, MA: Elsevier.
• Lewis, J. (2014). Essential Cinema: An Introduction to Film Analysis. Boston: Wadsworth.
• Fowkes, J. (Year). Title of the work referenced regarding fantasy’s central aspects (if known).
• Van Guden, K. (1989). Genre classifications of fantasy films.
• Worley, A. (2005). Survey of fantasy film types.
• Aronofsky, D. (2006). The Fountain. [Film].
• Additional scholarly articles on film genres and fantasy cinema (e.g., Booker, 2014; Williams, 2008; Neale, 2000; Chatman, 1990; and Bastien, 2015).