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Big fish film summary
Blackfish movie analysis
Big fish magical realism
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Big Fish is like an incomprehensible film, which never ceases to stop surprising its viewers. The story is an amazing fantasy created by Tim Burton, which transports the viewer to another dimension by means of the main character’s experiences and adventures through the film. In the story the viewer finds a father, Edward Bloom, and a son, Will Bloom. The father is an extravagant storyteller, in which his son grew up hearing his tales and begins to doubt their credibility. Throughout the film the viewer can catch a glimpse of numerous acts of magical realism, but overall identifies the characteristic of mirror reversals which adds a special touch to the story when intertwined with the father and the son as they undergo a life changing journey.
Incorporated all throughout Big Fish are several characteristics of magical realism. However, one characteristic that stands out is mirror reversals. Mirror reversals are the act of people or effects switching places, and taking on a new persona. This characteristic is not widely known, but is commonly used throughout countless films and stories. The viewer can identify mirror reversals by beginning to look for certain characters and understand their role and watch closely for them to undertake another role or personality. Successively when this characteristic is identified the viewer is then able to acknowledge the story’s deeper meaning. Mirror reversals are not present from beginning to end of the film, but rather towards the end when Tim Burton ties together the aspects of the father and son’s relationship.
Of all the examples of magical realism, the characteristic which enhances the utmost dramatic effect are the mirror reversals. The primary main character is Edward Bloom, from a litt...
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...om his stories; the uncatchable fish. After Will’s father died, he self-confessed that “he became what he always was, a big fish”, which admits that something magical has taken place, and was set perfectly in the film (Burton). Mirror reversals are a powerful characteristic that insert a new meaning to the film as well as helping its viewers develop a deeper understanding by transforming a character into another through an aforementioned character. By including this characteristic Tim Burton added a captivating effect that gave the viewer an additional perspective of Edward turning into the big fish he always spoke of. Through this tactic, Big Fish was an amazing well put together film, and it would not be the same without the multiple acts of magical realism.
Works Cited
Big Fish. Dir. Tim Burton. Perf. Ewan McGregor. S GOLD The Entertainment Network, 2003. DVD.
Indisputably, Tim Burton has one of the world’s most distinct styles when regarding film directing. His tone, mood, diction, imagery, organization, syntax, and point of view within his films sets him apart from other renowned directors. Burton’s style can be easily depicted in two of his most highly esteemed and critically acclaimed films, Edward Scissorhands and Charlie and the Chocolate Factory. Burton ingeniously incorporates effective cinematic techniques to convey a poignant underlying message to the audience. Such cinematic techniques are in the lighting and editing technique categories. High key and low key relationships plus editing variations evinces the director’s elaborate style. He utilizes these cinematic techniques to establish tone mood, and imagery in the films.
Velvet Goldmine. Dir. Todd Hayes. Perf. Jonathan Rhys Meyers, Ewan McGregor, Christian Bale, Toni Collette. Miramax, 1998.
Faris, Wendy B. Ordinary Enchantments: Magical Realism and the Remystification of Narrative. Nashville: Vanderbilt UP, 2004. 24 Sept. 2012. Web. 15 Mar. 2014. 21
Using the production elements of symbolism; especially hands themselves, and the use of allusion to elements from other genres; particularly those from fairytale and gothic romance/horror films, Tim Burton has directed the film in such a manner to illustrate, emphasise and ridicule the materialism and lack of imagination of society. The film however, is prominently a satire which has certain elements from fairytale, comedy and horror genres. Through the choices made by the director, the audience is invited to become aware of the inhumanity present in the way society functions, especially in its prejudiced treatment towards people who do not conform. The use of allusion in Edward Scissorhands is one of the most important choices in production that has been made by director Tim Burton. In order to fully appreciate and understand the plot, the movie is dependant on the audience being able to recognise certain references and elements emulated from other films.
Concerning the genre spectrum, Big Fish and Cold Mountain are miles apart. The first is a magical assortment of reality and fantasy driven by a man running from a loved one; the second is a historical fiction propelled by a man seeking a loved one. In addition to the dramatic and thematic differences, the underscoring of both films is opposing in the methods used to achieve similar ends; namely, serving the five functions. Danny Elfman, the composer for this Tim Burton film, interlaced an intricate and organized underscoring for the film, forming a piece that rivals that of Edward Scissor Hands.
Burton, Tim, dir. Big Fish. Writ. Daniel Wallace and John August. 2004. Sony Pictures, 2005. DVD-ROM.
The most appealing films are those that keep audiences guessing, surprise them at the most unexpected times and break conventional film boundaries. Edward Scissorhands (1990) directed by Tim Burton, is a feature film that does exactly that. It blends a fairy tale story with a gothic horror film, to engage the viewer right from beginning until the resolution. It tells the tale of Edward, who was the creation of an inventor who died before he could give Edward proper hands, and was left with scissors as hands. When he was taken from his gothic mansion, into a “normal” suburban community, he was at first welcomed, but then heartbreakingly rejected when things went wrong. The character of the “monster” is an important feature to many gothic horror texts, and examining Edward and other various characters helps to bring about interesting ideas and concepts about this key role. Burton also draws on the relationship between the princess and the prince, commonly found in fairy tales. By using various features found in the gothic horror genre and the fairy tale genre, Edward Scissorhands is able to sway us to think about the consequences of judging people who are different, it influences us to question what true love is and changes the way we view who can be the prince and princess.
For these reasons, based on the examination of these two works, one cannot assume that Sublime literature and Magical Realist literature are the same, nor can one assume that they are genres of one another. They seem to have many characteristics in common, and therefore one would assume that they maintain a close relationship, although independently. By comparing and contrasting another genre of literature with Magical Realism, the defining boundaries that make up Magical Realism are narrowed.
Mere parts of a whole, contrast and theme are glued together with many other elements to form Burton’s style: a paradox of misery and utter joy. Burton’s soul resides inside his movies, and we can use that connection to understand him. Famous and popular yet an outcast, Burton is a contradiction himself, which oddly resembles Burton’s style. Through our link with him, we can gain insight into life that few will ever give.
In the novel Big Fish by Daniel Wallace, we are told the story of Edward Bloom, a man of many adventures, who is somewhat of a myth. Big Fish is a collection of the tall tales Edward tells his son about his life, and also of the effect his tales had on his son. The novel comes from an American author from Alabama, while the movie comes from Hollywood and is directed by Tim Burton, who is also American. This story is not an ancient sacred text, so the story’s function(s) is to entertain and to make money.
In both versions, the mermaid meets the prince and he falls for her beauty, but he’s already betrothed to another. However, Anderson’s mermaid has to endure not only physical, but also mental and emotional hardships. She is unable to communicate with the prince to reveal she was his true savior, and with every step the mermaid experiences agonizing pain. Andersen’s mermaid has to stand by and watch her love marry another and her chance of an immortal soul slips out of her grasp. Soon after the wedding, the mermaid is approached by her sisters with an opportunity to return to the sea, but she would have to commit a terrible, and selfish act. The story goes like this, “Before the sun rises, you must plunge it [a knife] into the heart of the prince; when his blood sprays on your feet, they will turn into a fishtail and you will be a mermaid again” (Andersen). The mermaid faced a difficult dilemma, one that all individuals face—self betterment or selfless sacrifice. Andersen’s mermaid chooses selfless sacrifice, tosses the knife overboard and cast herself into the ocean. This ending is not what most would call happy, but it reveals some remarkable life lessons and an incredible depiction of selflessness. Not all stories have to have happy endings to satisfy a reader (Whitty); this story for example holds so much more depth, substance, and emotion because it does not have one. Disney chose a happier, predictable ending where Ariel marries the prince in the end; this ending makes it easy to smile, but lacks in allowing the reader to develop much more emotion than
The movie Mirror Mirror is based off of the classic Disney movie “Snow White and the Seven Dwarfs”. The story follows Snow White as she lives with her evil stepmother who becomes jealous of Snow’s kind heart and innocent looks that make her the fairest of them all. Within the modern interpretation, the storyline takes on a new perspective that molds the characters to have different traits than the original. Even though the basic concept remains, the fact that the creators tweaked each personality results in a more intense and adventurous story. Disney fans will be drawn to this movie because not only does it add more life to a classic fairytale and gives the characters a stronger personality, but is also ties in other Disney fairytales into the details. Feminism is also viewed in this film, and creates a healthy balance
The first time the big fish motif is shown is when Edward is telling the story of how he caught the “uncatchable fish”, that has swam past $100 baits, by offering it a ring. In this scene Edward is represented by the fish. The $100 baits represent the many women that would have gladly had an affair with him, including Jenny. However, Edward, the big fish, just swims right on past them. This ties back to the theme because Edward’s goal was to have a strong healthy marriage with Sandra, thus if he were to cheat this would ruin his marriage. While in Spectre, Edward sees a naked lady and is told it is the big fish and that everyone who sees it, perceives it differently. This appears later in the movie, when Edward is caught in a large rainstorm and the naked lady is swimming around in the flood. She puts her hand on the glass of Edward’s car window and by mimicking it, Edward is “cleansed” because shortly after she does this, Edward is faced with the most tempting chance for an affair and stays true to his ultimate goal of being true to his wife. However, because the naked lady reinforced his purity, Edward rejects this offer. In this scene the big fish, showing itself as a nude lady, represents Edward’s purity. This motif connects back to the theme because by representing his purity and “cleansing” him, the big fish reinforces the idea that even if tempted away from the true
Peter Pan. A movie about nostalgia, childish fun, following your dreams and.. abducting children. I’m serious. You see, Peter Pan’s shadow is the one that does his bidding, that separates from him and convinces Wendy and her brothers to follow him to Neverland. It never talks, it only imitates what its owner does, but with slight variations that get it in trouble. Now, Peter Pan is a lighthearted story with positive messages meant to resonate on children, but the shadow that the tale holds is one that we all do. The difference between our shadow and Peter Pan’s, however, is that his always listened to him, and meanwhile, we always listen to ours. This shadow, constantly following us around is a choice that we make- a choice to be manipulated
On which grounds ‘Dr. Faustus’ in Marlow’s play ‘The Tragical History of Dr. Faustus’, was mending his life in urge for becoming a master of all things? How did the ghost of old Hamlet play its role in the play ‘Hamlet’ by Shakespeare? What role did the embroidery handkerchief perform in the play Othello by Shakespeare? How the female protagonists, ‘Sethe’, of Toni Morrison’s novel, ‘Beloved’ come into life after death? What were Tituba and Abigail doing in the whole paly ‘The Crucible’ by Arthur Miller? The answers of all these questions will bring many logical, illogical, rational, irrational, real, unreal and spiritual thinking into mind. Although all that is not magical realism but have a sense so the term magical realism is not a new statement, it is an old and a perfect genre of writing