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Recommended: Fairy tales analyse
Presentation Devices in Shrek
In traditional fairy tales, ogres are man-eating beasts. The Prince
usually rescues the Princess, they marry and live happily ever after.
How do the makers of "Shrek" use presentational devices to reverse
this tradition, to reveal the ogre as good, and the Prince as evil?
This essay is going to be about how the makers of Shrek use
presentational devices to manipulate the tradition of fairy tales, by
changing the roles of the characters. For instance, in Snow White and
the seven dwarfs, Snow White is freed from the spell by a handsome
Prince and lives happily ever after. But in Shrek certain events and
the use of some presentational devices alter this tradition by making
it seem as if an ogre is the hero and the prince is the villain.
I am going to analyse Shrek's character in some of the main scenes and
try to discover how the makers of Shrek use presentational devices to
alter the tradition of fairy tales.
During the opening scene of Shrek, it starts as if it were a
traditional fairy tale, with the story being told of how the Princess
will be rescued and how she will live happily ever after. But just as
we think the story is about to start Shrek slams the book, which the
story is read out of shut and says "as if that's ever going to happen"
which surprises the audience. Modern music then begins to play and the
camera zooms out and shows everyone Shrek, then people begin to
realise that this is not going to be an ordinary fairy tale.
Because of this sudden unpredictable change, viewers are surprised as
everyone thought it was going to be traditional.
In one of the main scenes, storybook characters arrive at Shreks'
swamp. Shrek sees them and immediately tries to scare them away, by
saying that he will, "Grind your bones for my bread" the storybook
characters are not scared by Shrek which surprises him and they then
reply to Shrek that Lord Farquaad has sent them here.
If the report goes forward…A pulse of excitement beat in Adam’s throat. What did he mean-was there any possibility that the report could be stopped here, that in the eyes of the world he could retain some shreds of self-respect? Adam’s breath came faster; he sat up straight.
Beowulf tells the story of one of the most heroic men of Anglo-Saxon times. The hero, Beowulf, is able to use his super-human physical strength and courage to put his people before himself. He encounters terrifying monsters and the most brutal beasts, but he never fears the threat of death. Beowulf is the ultimate epic hero who risks his life countless times for great honor and for the good of others. Oedipus Rex is a tragic play, which discusses the tragic discovery of Oedipus--that he has killed his father, and married his mother. He is self-confident, intelligent, and strong willed. Ironically these are the very traits which bring about his tragic discovery. Oedipus gains the rule of Thebes by answering the riddle of Sphinx.
Some of the greatest villains in literature are characters who have merely been misunderstood. While we are drawn to literary heroes and admire their strengths, we often forget to consider the point of view of their enemies. Many of these enemies also possess strengths that the reader does not realize. Along with traditional heroes, the villain in a story can be considered an anti-hero. In the story Grendel, by John Gardner, the reader is challenged to contemplate the thoughts and feelings of the anti-hero, Grendel. Exploring heroes like Beowulf, and anti-heroes like Grendel, and the Beast in Beauty and the Beast, causes the reader to develop a better understanding of the relationship that exists between the characters and their society.
The story begins with Grendel taking the lives of countless innocent men. It seems to all that there is no one who can face this great monster who lives down in the swamp. The king, Hrothgar, becomes concerned for the health of his country and seeks out help from someone of great strength. In hearing this, Beowulf sees it as an opportunity to increase his popularity and fame. Upon arrival, he is anxious to come face to face with the great beast. In addition, he declares that he will fight Grendel without any weapons to prove who is truly the strongest. After his victory, Beowulf gets his fame and becomes king of another land for fifty years.
Batman beats the Joker. Spiderman banishes the Green Goblin. For centuries, story tellers have used the basic idea of good beats bad to guide their tales. Stories of blood sucking, human possessions and other tales have been passed down generations and vary between cultures. Among the creators of the famous protagonists is, Bram Stoker, the creator of Dracula.
Everyone remembers the nasty villains that terrorize the happy people in fairy tales. Indeed, many of these fairy tales are defined by their clearly defined good and bad archetypes, using clichéd physical stereotypes. What is noteworthy is that these fairy tales are predominately either old themselves or based on stories of antiquity. Modern stories and epics do not offer these clear definitions; they force the reader to continually redefine the definitions of morality to the hero that is not fully good and the villain that is not so despicable. From Dante’s Inferno, through the winding mental visions in Shakespeare’s Hamlet, spiraling through the labyrinth in Kafka’s The Trial, and culminating in Joyce’s abstract realization of morality in “The Dead,” authors grapple with this development. In the literary progression to the modern world, the increasing abstraction of evil from its classic archetype to a foreign, supernatural entity without bounds or cure is strongly suggestive of the pugnacious assault on individualism in the face of literature’s dualistic, thematically oligopolistic heritage.
The most important events in Beowulf’s life seem to all be a matter of Dichotomy. Good versus evil. Beowulf encounters perilous monsters throughout his life that no man or woman would ever stand a chance of defeating. Beowulf embodies the classic storybook hero, whom is built with a strong body and a pure heart. Throughout this epic, Beowulf must harness his heroic body and pure heart into destroying the forces of evil in the world.
Therefore, throughout the story Beowulf is presented as the ultimate hero; demonstrating the strength of thirty men in his grasp while also using his powerful insight to avoid unnecessary conflict. His surreal strength and wisdom allow Beowulf to accomplish great feats within his time. He not only saves the land of the Danes form the terrorizing monsters but serves and protects his own people as well. Despite his heroic qualities, his humanity is proven by showing his eventual downfall; expressing that even the greatest heroes cannot live forever. Beowulf’s heroic qualities can only hold him above the rest until fate takes its toll and he too becomes defeated.
IN THE DEAD OF THE NIGHT, someone or something, is murdering the local townsfolk. As fate provides, a stranger marches into the local bar announcing his intention to kill the menacing outlaw. The fiend returns to the scene of his crimes, and, as predicted, the outsider fights and mortally wounds the brute, which limps off to a hidden lair. The hero and his comrade(s) track the wounded villain to an underwater cave and the ensuing fray results in the death of the criminal's sidekick. The stranger/hero explores the cave, discovering the carcass of the original fugitive, treasure and booty. Meanwhile, the stranger's posse thinks the hero is dead and abandons him. The hero's surprising return marks the end of his mission. Excluding the underwater cave, the plot line of Beowulf and Grettir's Saga is the premise for countless songs, sagas, epics, stories and movies (especially western and horror films). Likewise, Christianity contains the story of a redeemer rescuing mankind from evil. Although these two oral tales contain similar action sequences, differences can be found in the details and underlying moral tenor. Elemental distinctions include seasonal differences, the role of women, the actual fight scenes, the style of the combatants and their foes, how plunder is qualified, and what happens to the hero at the end of his mission. Even as the details differ, the dogmatic tonal shift can be discovered by looking at how the differing communities act in relation to what they say, and noting the variation of the characters' attitudes, from the older Beowulf's world of a pagan society working to integrate Christianity, to Grettir's Christian population, whose older heroic heathens are cast out.
As a result of the missions of good and evil forces is completely divergent to one another, there is continuously a battle stuck between the two. This equilibrium of good and evil rise and fall over time is never stable. The effects of good and evil are felt transversely all the sections of the world. The classic Beowulf makes an effort to illustrate both sides of these cultures of good and evil. It also conveys the eternal battle between the two. “Grendel, a monster who lives at the bottom of a nearby mere, is provoked by the singing and celebrating of Hrothgar's followers” (http://csis.pace.edu/grendel/projf981e/story.html). Beowulf, prince of the Geats, hears about “Hrothgar's troubles, gathers fourteen of the bravest Geat warriors, and sets sail from his home in southern Sweden” (http://csis.pace.edu/grendel/projf981e/story.html). In Beowulf, the author uses light and darkness to accentuate good and evil in the world.
He would not have been the warrior he was without the three villains that attacked him and threatened other people’s lives. The Geatland King learned how to think morally, realistically and how to control his thoughtless and selfish urges. The id, ego and superego turned him from an egotistical young boy into a noble and respected man. While he is the id himself, Beowulf realizes his surroundings and fulfills his own potential to self-actualize himself. The man becomes perspicacious and selfless towards life and his people. The legend will live on as Beowulf, the boy who grew into a man by facing his
First, Beowulf was a hero who traveled around the world helping the people in Herot. One day a monster appeared his name was Grendel and every night in Herot he terrorized the Danes killing anybody in sight. When Beowulf found out, he asked the king to kill Grendel so he can put an end to the terrorizing to the Danes. Next, Beowulf arrives and battles him with his hands and kills the monster, cuts his body parts off and keeps them as a prize to show the king. After Beowulf defeated Grendel, the monsters mother found out she went looking for revenge.
The legends of Beowulf and Odysseus, from the epic poems Beowulf translated by Seamus Heaney and The Odyssey by Homer, tell the story of two men of mythical proportions both admired by their people for demonstrating immense courage. A man wishing to prove himself must meet their culture’s idea of courage and heroistic values. Hospitality and feasting characterize a part Greek culture, the Anglo Saxons perhaps appear more aggressive from this point of view, as they participate in a vicious revenge cycle and typically only celebrate after a great win. The culture that surrounds these two epics affect their views of heroism; Odysseus accepts help along his journeys without any cost to his military prowess, on the other hand Beowulf remains independent
more than evil is capable of what seems to be good. More often in the story, God
Lurking evil combatted by bravado and strength appears throughout the poem. Right from the start, the author addresses the conflict. “Times were pleasant for the people there,” the epic begins, “until finally one, a fiend out of hell, began to work his evil in the world.” However, Beowulf quickly rushes to the people’s aid. “When he heard about Grendel, [Beowulf] was on home ground, over in Geatland. There was no one else like him alive. In his day, he was the mightiest man on earth.” Two other villains in the story also utilize this same theme, Grendel’s mother and the Dragon. This tenuous balance between forces of good, and the underlying malice of the villain resolves only with the mutual death of Beowulf and his final foe, the Dragon.