An Imaginary World in Contemporary Media Essay

The imagery world is conceived by the human in fictional media through film, literature or games. This involves magic, imaginariness technology, sometimes either in historical or futuristic theme. There are some "worlds" that may be that may be parallel to the earth through magical portals such as that portrayed in the game of thrones or fictional earth in a remote location or a completely independent world created in another part of the world such as Star Wars Galaxy. A significant number of the imaginary worlds as portrayed in media heavily rely on real-world historical events, mythology and geography among other things (Scolari 48). Covering three imaginary aspects of world-building, the movie has showcased a lot of detail in the world of sorcery, the natural world and the ordinary life. Nevertheless, it is fundamental to note that the technological advancement has had a significant impact in the imaginary world.

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The world of fantasy or "imaginary world" is magical and entrances the reader or the viewer but is difficult to make. These stories need to be written and produced with a high level of creativity, and thoughtful skill or they can fail to captivate the attention of the targeted audience. In other words, it has a fundamental drawback which, can be difficult to achieve. There is a sense in which the artists try to sub-create a task similar to God's power. This difficulty in the production stems from the reality that the creation of the imaginary world involves unlike things that happen in the primary world (Bird 76). For instance, in the primary reality, there exist no categories for 'green sun' and for the viewer to suspend the idea of the colour of the sun, there is a need for uttermost creativity. This means that to make a green sun in the secondary world and fascinate the viewer; there is a need to incorporate special skill and craft. In the contemporary world, fantasy has been successful because it replaces the worn out things of the primary world with entirely new things, giving the viewers an entirely new experience. Nevertheless, in order for the fascination to work, the secondary world need to have a consistency of reality through the processes or actions show and the willingness to corporate with the audience. With no sense that the imaginary world is similar to the real world, it can be seen as a farce that is to mean that it will not have the qualities that associate to human life and thus, fail to win the audience trust in where the directors and the writers are leading them. The absence of the audience corporation does not give a surety that the art will be accepted.

The progressive development of technology, particularly the internet has played a major role in the imaginary sector as the customs, and the inclinations of the minority cultures brought to light for the wider audiences. Within the audiences, however, there exist culture industries that have producers who are increasingly shifting their attention to the geek culture such as that in "game of thrones" and continuously prowling the archives in search for the nostalgic benchmarks to change the next film. This means that in the contemporary world, fictional or imaginary worldbuilding has undergone transformation invisibility, changing with fandom to the mainstream media. Worldbuilding concept has a varied history with origins in the popular dialogue involving science fiction, fantasy and the analytical and aesthetic philosophy (Barbrook 120). In the contemporary world, this concept has become important in discussing the transmedia storytelling. In this context, a story is pitched due to the need to portray a good story and make an exceptional film. On the other side, a character is pitched to showcase a compelling character that can extend across a series of developments and this character pitches a world. This is because the imaginary world created in the film have the ability to support different stories with varied characters in different media podiums. But even without the type of radical intertextuality created by media practices, the aspect of world building is central to fictional writing. Some scholars and movie writers have protested that imaginary writing and fantasy lacks compelling characters since it is more fascinating in building and exploring worlds as compared to dealing with personalities. This is what has been showcased in the movie "Game of Thrones".

As evident in the context of "Game of Thrones", it is shocking that the superheroes, the dragons, aliens, wizards and orcs are very much in control. Even though there are numerous aspects of imagination or fiction, these elements are centered on culture and customs, and this is what dominates the better part of the film. For instance, the inhabitants of the seven kingdoms follow primogeniture. First kids are entitled to everything while the youngest have to struggle their way to the top. The bottom line here is that there is a need to understand the basic customs and believes of the world to comprehend how it operates regardless of the imaginary aspects that exist (Adi 34). The notion that exists in the film industry that a fantasy fiction can be more realistic specifically more non-fictional as compared to others deserves some high level of contemplation. Through science fiction, there exist the categories of hard and soft which, to some extent relies on the type of technology used to develop the story. For instance, some elements are used in 'Game of Thrones" that cannot be found in other contemporary films. Game of Thrones begins with a slaughter which is followed by a beheading act. The concept behind beheading represents the most horrific details of many scenes of war (Barbrook 48). The forces of Sauron thrown the heads of Gondorian Soldiers through the walls of Minas. The overall atrocity is indeed fearless; even children are not spared. To some extent, these scenes create an imaginary environment and is so convincing to the viewers, portraying real war environment. Similarly, sexuality in the movie is graphic and worrying to the point that it is hard to provide examples without violating societal beliefs and values.

The integral advantage of the imaginary world is that it provides an amazing mixture of settings. Some imaginary scenes are set in an alternate version of the historical context in which the magic of mythology is real. There are other stories, however, that takes place in entirely imaginary worlds dominated by folkloric actors in the contemporary media. There are some instances in the movie "Game of Thrones" that has no relationship to any place on Earth (Adi 34). Such imaginary settings give the author the liberty to be free from the constraints of the "actual world" and create stories that are fascinating and at the same time selling to the audience. In the process of bringing an imaginary world, there is a need to use techniques such as using standard accuracy, reading at maps, watching other movies shot on location and undertaking sufficient research and deliver what is needed of the contemporary fantasy. Through the techniques, stories are developed somewhere that doesn't exist and for that reason, getting every aspect of production isn't important. The viewers cannot identify if a story is right or wrong.

Some of the imaginary films such as "Game of Thrones" cannot display a similar richness of fantasy that literature can. This is because words have the ability to describe the people, events and places better convincingly, introducing suspended disbelief. The imagination that comes when words are used takes descriptions to a level of vividness and gullibility that other aspects of arts may mock and depreciate. Claim made here is that the imaginary world requires a certain level of imaginative detail that only words can better display. At the same time, it is important to note that the imaginary world is delicate in the sense that it needs to be handled with great artistic care to change from the wonder to fantasy. In the contemporary society, the technological capabilities give directors, writers and actors to produce believable imaginary worlds to the viewers and the movie fanatics (Barbrook 195). This technology, however, has not advanced enough to persuade viewers on some fantasy stories. There is a need for advanced ways of depiction since the films are visual medium and as a mixture of photography and drama, the film is indeed a visual channel.

Conclusion

In conclusion, "Game of Thrones" is a fantasy film that involves magic and imaginariness technology to portray another world. This covers imaginary aspects of world-building, the world of sorcery, the natural world and the ordinary life. Through the creation, however, there is a need to link the secondary world created with the primary world to win the audience trust in where the directors and the writers are leading them. Within the audience also, there exist culture industries that have producers who are increasingly shifting their attention to the geek culture such as that in "game of thrones" and continuously prowling the archives in search for the nostalgic benchmarks to change the next film. This means that in the contemporary world, fictional or imaginary worldbuilding has undergone transformation invisibility and content.

Works Cited

Adi, Ida Rochani. "Popularizing epic narrative in George RR Martin's A Game of Thrones." Humaniora 24.3 (2012): 303-314.

Barbrook, R. (2007). Imaginary futures: from thinking machines to the global village. Pluto Press.

Bird, S. Elizabeth. The audience in everyday life: Living in a media world. Routledge, 2013.

Scolari, Carlos Alberto. "Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media production." (2009).