Shrek And Post Modernity

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  • Shrek And Post Modernity

    1. 1. SHREK & POST MODERNITY SHREK & POST MODERNITY SHREK & POST MODERNITY SHREK & POST MODERNITY SHREK & POST MODERNITY SHREK & POST MODERNITY SHREK & POST MODERNITY
    2. 2. POST-MODERNISM (1870-2009) AFTER MODERNITY/MODERNISM HEAVILY SELF-REFERENTIAL & IRONIC(PARODY & PASTICHE) INTERTEXTUALITY SIMULACRA (BAUDRILLARD)- THE REAL AS SEMBLANCE OF REALITY (E.G. A THEME PARK) HYPER-REAL (DELIBERATE BLURRING OF BOUNDARY BETWEEN FANTASY & REALITY) SURFACE DEPTHLESSNESS/SUPERFICIALITY (FEATHERSTONE)
    3. 3. POST-MODERNISM TEMPORAL DISTORTION (NON-LINEAR NARRATIVES) ABSENCE OF INNOVATION...THE REPETITION OF POPULAR CULTURE AS A CAPITALIST MODEL AIMED AT THE GULLIBLE (ADORNO & HORKENHEIMER) CHAOS & PARANOIA...ABSENCE OF BINARY OPPOSITES OF GOOD AND EVIL
    4. 4. OPENING SCENE IS THE STORY BOOK & PLOT (ORDERING OF THE STORY) CONVENTIONAL OF FAIRY TALES? (PROPP/FABLES) IS THE RIPPING OF THE PAGE BY SHREK ACTUALLY CHALLENGING CONVENTION OR SELF REFERENTIAL OR BOTH? NOTE HOW THE OMNISCIENT NARRATOR IS WITHHELD FROM THE AUDIENCE, AFTER DREAMWORKS ALREADY MADE THE PROMISE (OF A NARRATOR) IN THE OPENING MINUTE OR SO OF THE FILM. DIRECT MODE OF ADDRESS RESUMES AFTER 1HR 20MINS. HOW DOES THE CHOICE OF AN OGRE CHALLENGE CONVENTION?
    5. 5. 3:25- ATTACK ON THE OGRE HOW IS GOOD AND EVIL ESTABLISHED? TO WHAT EXTENT IS PASTICHE (BORROWING FROM SEVERAL EXISTING SOURCES) USED? SELF-REFERENTIAL DISTINCTION BETWEEN GIANTS AND OGRES? (THE CONVENTIONS ARE PRESENTED TO US, ALMOST AS A LIST...MAYBE PETER GREEN AWAY DIRECTED THE FILM?) ‘THIS IS THE PART WHERE YOU RUN AWAY.’
    6. 6. WANTED: FAIRYTALE CREATURES (5MINS & 14MINS) PASTICHE- MANY UNORIGINAL SOURCES BEING PLACED WITHIN A NEW CONTEXT...DOES THIS MAKE THE FILM ORIGINAL? PINOCHIO ETC...THE JOKE IS ONLY RELEVANT IF THE INTERTEXTUAL REFERENCE IS UNDERSTOOD.
    7. 7. PROPP- REWORKED (8MINS) HERO AND HELPER (THE IDEA OF A HERO WHO RESISTS THIS ROLE IS NOTHING NEW...CAN YOU THINK OF ANY EXAMPLES?) ‘BUTT-GAS,’ POO JOKES ETC- DELIBERATE SENSE OF IRREVERENCE TO APPEAL TO TEEN AUDIENCE ANIMATION BY ITS VERY NATURE IS HYPER-REAL? WHY? ‘BLOODNUT THE FLATULENT.’ (45MINS)
    8. 8. IS SHREK BAD FOR KIDS? (DAVID DENBY) IF WE AGREE (FOR THE SAKE OF ARGUMENT) THAT SHREK DOES CHALLENGE EXISTING CONVENTION. IS IT BAD TO INTRODUCE KIDS TO CONFUSING PARADIGMS BEFORE THEY UNDERSTOOD THE NORM? IS THE HUMOUR IN SHREK ACTUALLY AIMED MORE AT THE PARENTS GIVEN THAT MANY OF THE KIDS WILL NOT UNDERSTAND THE DISNEY RELATED CONVENTIONS WHICH FORM PART OF THE PARODY.
    9. 9. 17MINS- ‘MIRROR, MIRROR ON THE WALL’ IMPORTANCE OF NARCISSISM USE OF ‘BLIND DATE’ INTERTEXTUAL REFERENCE & POP CULTURE
    10. 10. 20 MINS- THE CASTLE AS SIMULACRA DISNEY RELATED PARODY? DULOC-DISNEY IS THIS A FORM OF ATTACK BRANDING? FACADE OF BUILDINGS AS REPRESENTATION OF THE REAL PARODY OF WWF
    11. 11. 32MINS: SELF REFERENTIAL OF ITS OWN AGENDA AS A TEXT SHREK: ‘THE PRINCESS WILL BE IN THE TALLEST TOWER.’ DONKEY: WHAT MAKES YOU THINK THAT? SHREK: I READ IT IN A BOOK ONCE.
    12. 12. PRINCESS FIONA- POST FEMINISM NAMING CONVENTIONS UNCONVENTIONAL DAMSEL IN DISTRESS? EXPECTATIONS OF CHIVALRY 52MINS- MATRIX STYLE PARODY & PASTICHE OF ROBIN HOOD MYTH
    13. 13. 39MINS- THE HYPER REAL DOES THE CGI 3D ANIMATION CREATE HEIGHTENED REALITY? HOW DOES THIS CHANGE THE RELATIONSHIP WITH THE AUDIENCE? (Q. FOR MICHAEL) THE MODE OF ADDRESS IS VERY MUCH ADULT INFLUENCED (THE CONNOTATIONS OF SEXUALITY IN CONVERSATION BETWEEN THE DRAGON & DONKEY) AND PROVIDES LAYERS OF UNDERSTANDING. (LIKE THE SIMPSONS) IS THIS ‘ADULT HUMOUR’ PART OF MODERN DAY POPULAR CULTURE WHICH DEMANDS THAT CHILDREN GROW UP TOO QUICKLY?
    14. 14. ????????????????????????????????????????? ‘THIS MAKES SHREK AT ITS DEEPEST LEVEL NO MORE THAN A SINGLE AND ELABORATE ALLEGORY FOR KISSING A TOAD. YEAH, THE GUY IS HIDEOUS AND DISGUSTING AND RARELY BATHES, BUT MAN, IS HE PERSONABLE. IN OTHER WORDS, THE TRUE MEAT OF THIS STORY IS AN ENDLESSLY PREDICTABLE STRING OF CLASSIC TRADITIONS. SHREK DIFFERS FROM THE DISNEY RELICS OF THE 1950S IN THAT IT OBSESSES WITH MODERN POP CULTURE, BUT IT IS IMPOSSIBLE TO IGNORE HOW INSEPARABLE ITS CORE IS TO THE PAST.’ (IS SHREK POSTMODERN? BY EMILY GERA)
    15. 15. METAPHORS ONIONS (APPEARANCES CAN BE DECEPTIVE (SHREK AND FIONA)‘MAYBE YOU SHOULDN’T JUDGE PEOPLE BEFORE YOU GET TO KNOW THEM.’ (PRINCESS FIONA) ‘ITS THE WORLD THAT HAS THE PROBLEM WITH ME.’ BUILDING WALLS AROUND HIMSELF (SHREK) BEAUTY AND THE BEAST THE EELS- ‘MY BELOVED MONSTER’ 1HR- REVELATION OF THE REAL PRINCESS FIONA
    16. 16. THE END ‘AND THEY LIVED UGLY EVER AFTER’ (PASTICHE OF A FABLE BUT THE MORAL IS STILL CLEAR E.G. DON’T JUDGE A BOOK BY ITS COVER

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