Escapism in the context of "Fantasy film"

Escapist fiction, also known as escape fiction, escapist literature, or simply escapism, is fiction that provides escapism by immersing readers in a "new world" created by the author. The genre aims to compensate for a real world the reader perceives as arbitrary and unpredictable compared to the clear rules of the constructed "new world". Typically, an author of escapist fiction offers structure, rationality and resolution to real world problems throughout their medium. The genre facilitates mentalisation; that is, escapist fiction encourages psychological engagement from the reader. Escapist fiction is often contrasted with realism, which confronts the reader with the harsh reality of war, disease, family dysfunction, crime, foreclosure, death, etc. It encompasses a number of different genres within it; any fiction that immerses the reader into a world different from their own is fundamentally escapist fiction. Escapist literature aims to give readers imaginative entertainment rather than to address contemporary issues and provoke serious and critical thoughts.

Historically, the arts, and literature in particular, have been acknowledged for its ability to distract readers from the hardships of reality. During the Great Depression, readers turned to escapist fiction as it provided them a mental escape from the bleakness of the economy during that period of time. Fiction books and novels were an affordable and easy means for readers to escape into another world, so people used escapist fiction to provide them with a temporary psychological escape from the realities of their world.

"Vogue" is a song by American singer Madonna from her soundtrack album I'm Breathless: Music from and Inspired by the Film Dick Tracy (1990). Written and produced by herself and Shep Pettibone, it was inspired by voguing, a dance popularized in New York City in the late 1980s. The song was released as the lead single from the album on March 20, 1990, by Sire Records and Warner Bros. Records. "Vogue" is a house song with influences of disco, which contains escapist lyrics describing the dance floor as "a place where no boundaries exist". Its middle eight features Madonna name-dropping several actors from the Golden Age of Hollywood. "Vogue" was later included on three of Madonna's compilation albums: The Immaculate Collection (1990), Celebration (2009), and Finally Enough Love: 50 Number Ones (2022).

Upon its release, "Vogue" received positive reviews from music critics, who noted how it was musically different from the rest of the tracks on I'm Breathless; it was retrospectively seen as one of Madonna's career highlights. The song was commercially successful, topping the charts in a number of countries, including Australia, Canada, Japan, the United Kingdom, and the United States, where it was certified triple platinum by the Recording Industry Association of America (RIAA). "Vogue" became Madonna's biggest selling single at the time of its release, and has sold more than six million copies worldwide to date. It additionally received prizes at the 1991 Juno Awards and at the American Music Awards of 1991.

Peter Pan is a fictional character created by Scottish novelist and playwright J. M. Barrie. A free-spirited and mischievous young boy who can fly and never grows up, he spends his never-ending childhood having adventures on the mythical island of Neverland as the leader of the Lost Boys, interacting with fairies, pirates, mermaids, Native Americans, and occasionally ordinary children from the world outside Neverland.

Peter Pan has become a cultural icon symbolising youthful innocence and escapism. In addition to two distinct works by Barrie, The Little White Bird (1902, with chapters 13–18 published in Peter Pan in Kensington Gardens in 1906), and the West End stage play Peter Pan; or, The Boy Who Wouldn't Grow Up (1904, which expanded into the 1911 novel Peter and Wendy), the character has been featured in a variety of media and merchandise, both adapting and expanding on Barrie's works. These include several films, television series and many other works.

Terror management theory (TMT) is a social and evolutionary psychology theory which proposes a basic psychological conflict stemming from two competing facts of human existence: the possession of a self-preservation instinct, and the realization that death is inevitable and to some extent unpredictable. This conflict produces terror, which is often managed through escapism and cultural beliefs that counter biological reality with more significant and enduring forms of meaning and value—basically countering the personal insignificance represented by death with the significance provided by symbolic culture.

The most obvious examples of cultural values that assuage death anxiety are those that purport to offer literal immortality (e.g. belief in the afterlife through religion). However, TMT also argues that other cultural values – including those that are seemingly unrelated to death – offer symbolic immortality. For example, values of national identity, posterity, cultural perspectives on sex, and human superiority over animals have been linked to calming death concerns. In many cases these values are thought to offer symbolic immortality, by either a) providing the sense that one is part of something greater that will ultimately outlive the individual (e.g. country, lineage, species), or b) making one's symbolic identity superior to biological nature (i.e. one is a personality, which makes one more than a mere collection of cells).Because cultural values influence what is meaningful, they are foundational for self-esteem. TMT describes self-esteem as being the personal, subjective measure of how well an individual is living up to their cultural values.

Chillwave is a music microgenre that emerged in the late 2000s. It is characterized by evoking the popular music of the late 1970s and early 1980s while engaging with notions of memory and nostalgia. Common features include a faded or dreamy retro pop sound, escapist lyrics (frequent topics include the beach or summer), psychedelic or lo-fi aesthetics, mellow vocals, slow-to-moderate tempos, effects processing (especially reverb), and vintage synthesizers.

Chillwave was one of the first music genres to develop primarily through the Internet. The term was coined in 2009 by the satirical blog Hipster Runoff to lampoon microgenres and indie acts whose sounds resembled incidental music from 1980s VHS tapes. Prior to this, the music would have been labelled as shoegaze, dream pop, ambient, or indietronica. Leading acts included Neon Indian, Washed Out, and Toro y Moi, who gained attention during 2009's "Summer of Chillwave". Washed Out's 2009 track "Feel It All Around" remains the best-known chillwave song.

The new wave of British heavy metal (often abbreviated as NWOBHM) was a nationwide musical movement that began in England in the mid-1970s and achieved international attention by the early 1980s. Editor Alan Lewis coined the term for an article by Geoff Barton in a May 1979 issue of the British music newspaper Sounds to describe the emergence of heavy metal bands in the mid-to-late 1970s, as punk rock declined amid the dominance of new wave music.

Although encompassing diverse styles inherited from rock music, the music of the NWOBHM is best remembered for infusing earlier heavy metal with the intensity of punk rock to produce fast and aggressive songs. The DIY attitude of the NWOBHM bands led to raw-sounding, self-produced recordings and a proliferation of independent record labels. Song lyrics were usually about escapist themes, such as mythology, fantasy, horror, and the rock 'n' roll lifestyle.

In psychology, avoidance coping is a coping mechanism and form of experiential avoidance. It is characterized by a person's efforts, conscious or unconscious, to avoid dealing with a stressor in order to protect oneself from the difficulties the stressor presents. Avoidance coping can lead to substance abuse, social withdrawal, and other forms of escapism. High levels of avoidance behaviors may lead to a diagnosis of avoidant personality disorder, though not everyone who displays such behaviors meets the definition of having this disorder. Avoidance coping is also a symptom of post-traumatic stress disorder and related to symptoms of depression and anxiety. Additionally, avoidance coping is part of the approach-avoidance conflict theory introduced by psychologist Kurt Lewin.

Literature on coping often classifies coping strategies into two broad categories: approach/active coping and avoidance/passive coping. Approach coping includes behaviors that attempt to reduce stress by alleviating the problem directly, and avoidance coping includes behaviors that reduce stress by distancing oneself from the problem. Traditionally, approach coping has been seen as the healthiest and most beneficial way to reduce stress, while avoidance coping has been associated with negative personality traits, potentially harmful activities, and generally poorer outcomes. However, avoidance coping can reduce stress when nothing can be done to address the stressor.

Off the Wall is the fifth studio album by the American singer Michael Jackson, released on August 10, 1979, by Epic Records. It was Jackson's first album released through Epic Records, and the first produced by Quincy Jones, whom he previously collaborated with while working on the 1978 film The Wiz. Off the Wall was crafted from disco, pop, funk, R&B, soft rock and Broadway ballads. Its lyrical themes include escapism, liberty, hedonism and romance. The album features songwriting contributions from Stevie Wonder, Paul McCartney, Rod Temperton, Tom Bahler, and David Foster, alongside three tracks penned by Jackson himself.

Before recording his next album, Jackson desired to create a record showcasing creative freedom and individualism for the first time—Off the Wall was widely branded as a reintroduction for him. Despite it being released shortly after the infamous Disco Demolition Night, it became Jackson's highest charting on the Billboard Top LPs & Tape chart, staying in the Top 10 for over 8 months. It was also number 1 on the Top Black Albums chart for 16 weeks and was the best-selling album of 1980 in the US. In retrospect, the album has been hailed as a landmark release of the disco era.