222.453
Visual Communication Design
Research and Development
Working Paper
Friday 14 May 2010
2521 Words
Charlotte Corrigall
07016433
Annabelle Archibald
07031084
Gray Hodgkinson
Media Narrative
Thursday 10am
Introduction:
Film Narrative can usually be seen as possessing two main components: the story presented and the process of its telling (or narration). This is often referred to as narrative discourse. From a story perspective, it is defined as a series of represented events, characters and actions out of which an audience can construct a fictional time, place and cause/effect world.
Today, film is beginning to develop from a narrative and dramatic tradition and into an area where storytelling is the central concern (Dunnigan, 2007).
The love for stories is a universal passion; the story is everywhere and, consequently, story telling is equally universal (Yearsley, 1924). Because of this, stories have become invasive in our culture, expressed through the media, cinema and society. We constantly seek to report experience, clarify emotion and define ourselves through narrative. This includes jokes, myths, fairytales, anecdotes, romance, history and folktale (Dunnigan, 2007). It is argued that stories are forms of consciousness that inspire, heal, inform and empower us; through the actions of the protagonist we are able to imagine other possibilities and deal with the unexpected in our own world. They become a means of escape, an alternate reality where anything can happen.
The fairy-tale are our first introduction to literature. They are viewed as the remnants of the thoughts and customs of the past, and that is where their values lie (Yearsley, 1924). Stored in the subconscious mind, they hold an important place among precious memories of childhood, often reoccurring during critical moments of existence. Yearsley (1924) also mentions Cannon Macculloch who has said because of man’s tenacious clinging to tradition, fairy-tales represent the attempts to clothe impressions of the universe, contain ideas and beliefs, customs and manner of living in the form of a story. This paper explores the process in which a fairy-tale can be re-contextualized and used effectively in a cinema environment, using a relevant sociocultural theme and/or issue to inform a contemporary narrative.
Fairy-tale Origins, Significance, Context and Relevance:
The origins of fairy-tales can be found in sources as varied as Mythology to the Bible. The narratives exist in every culture and civilization and common themes can be found because of this. The material is less culturally specific; therefore mirroring the basic patterns of the psyche more clearly. The same story reappears numerously, in different forms – each case conveying moral, social or political lessons in order to make life easier to cope with and provide a universal means of escape. As the centuries have passed, virtues and morality have flowed, both in real life and in the fairy-tales that accompanied mankind. These were used as a means of communicating life lessons, with tales often occurring during the main character(s) passage from childhood to adulthood (Abler, 2008). The stories often dealt with subjects in veiled terms. Professor D.L. Ashliman (2004) comments, “many fairy-tales owe their longevity to an ability to address tabooed subjects in a symbolic manner.” Abler (2008) states seemingly benevolent fairy-tales have been derived from precedents that often contained themes of adultery, cannibalism, incest, rape, mutation and murder. The effect of fairy-tales on readers and society can also be explored through studying their characters. Fong (1997) believes one important kind of character in fairy-tales is the heroes/heroines. They must strive to overcome many difficulties, challenges and obstacles in order to triumph. For example, in the fairy-tale Sleeping Beauty, the prince has to pass through many thorns before he can save the beautiful princess, and in turn, the whole kingdom.
Haase (2010) believes fairy-tales have a significant and positive role in the psychological development of children. Fairy-tales have become a childhood refuge, allowing an adjustment to the adult world. “In the fairy-tale there is equal peril, but it is successfully overcome” (Bettelheim, 1977). Each are viewed as narratives of commencement and salvation with their own unique patterns and formalities, rituals and rules. Dunnigan (2007) states that they define universal plot themes, from Cinderella’s hidden worth being recognized to the theme of re-birth. In agreement, Luthi (1976) finds that the underlying key message that can be taken from many fairytales is the action of overthrowing the old myths of a traditional, static culture into a journey from narcissism to love. By expressing a world full of domestic conflict and social aspiration, a poetic vision of man and his relationship to the world is formed, where wishing makes the man move and live. Von Franz (1970) emphasizes the stories are stripped of any definite character or location, therefore allowing fairy-tales to become the closest stories to the collective unconscious. Haase (2008, p.) asserts that Sleeping Beauty is an example of action over reflection, the story portrays the rise and fall of not just one girl, but also all of mankind; the theme of death and re-birth so common in film narrative today.
However, more significant than the themes themselves is what the evolution of the fairy-tale reveals about our ever-changing society. Guroian (1996) comments that our consumerist society allows traditional morals to take on the characteristics of material commodities. The “invisible worlds” evoked by fairy-tales have been replaced with political counterfeits (Communism, Capitalism) and mass-market substitutes (Coca Cola). Western society has shifted from supporting biblical values to embracing the concepts of relative morality and self-sufficiency (Abler, 2008). Regardless of this, as fairy-tales portray wonderful and frightening worlds in which ugly beasts are transformed into princes, evil persons are turned to stone and good persons back to flesh, we are reminded of the moral truths whose claim to normality and permanence we would not think of questioning (Guroian, 1996). This is further supported by globalization that has allowed many fairy-tales elements to transcend into full-length feature films.
Today modern technologies such as the Internet, Movies, Telecommunications and Publishing allow fairy-tales to have a widespread destination. This allows reworked or new fairy-tales to reach an extended amount of people, whereas previously they remained specific. The revival of fairy-tale elements has led to the collection and interpretation of fairy-tales and finally towards the established study of the subject.
Brief Analysis of Chosen Fairy-tale - Sleeping Beauty:
Sleeping Beauty is an enchanted fairy-tale familiar to perhaps all of the Western World. It was first derived as part of Indo-European story telling. The tale has been through various stages of re-contextualizing originating from Giambattista Basile’s Sun, Moon and Talia (1634) through to Walt Disney’s Sleeping Beauty (1959). Traditionally the story is of a princess born whom fairies blessed with gifts of beauty, grace and song. However, a bitter and wicked fairy cursed the young princess to die with the prick of a spindle. A good fairy eased the curse; she altered death to one hundred years of sleeping, only to be awoken by true loves kiss. As the princess grew so did her curiosity and the wicked fairies curse was fulfilled. One hundred years later a handsome young prince went looking for the princess. When he found her he marveled at her beauty, kissing her and awakening her from her slumber. They got married and lived happily ever after (Perrault - Part One, 1697).
Two themes are dominant in Sleeping Beauty: true love conquers all and home is where the heart is. True love within the film’s storybook world has definite qualities and characteristics. These include the idea that true love is instant and permanent; it is not uncommon for fairy-tale characters to fall in love at first sight, the effects of which last forever. The success of love matters to the couple involved but also indirectly the people around them; there is utter faith and it is never questioned. Finally, once united the couple live happily ever after. Home environments are important in providing the crucial foundations for love and goodness. Fairy-tale characters depend on the love and support of family, especially through troubled times. These provide something to go back to, and most importantly, depend on. A dominant moral expressed through Sleeping Beauty is that families provide support and should unite with others to create larger families and stronger support. (Sparknotes Editors, 2004).
The characters in Sleeping Beauty are also important in portraying the ideas and morals within the story. Princess Aurora’s character is seen more as concept-based rather than a complex character; she holds significance within the story and represents societies rise and fall. However, the presence of her character is short and abrupt; she is introduced at the beginning and present at the end but she spends majority of the story (in which the main characters develop and take action) in slumber. It is because of this that Aurora’s character holds an unchangeable nature throughout the film; she remains pure and innocent, passive and sheltered from the start.
The prince is a classic representation of a young girls ‘ideal man’. He is handsome, sensitive, brave, and utterly faithful. He’s also curious, adventurous and outgoing. Similar to Sleeping Beauty his character doesn’t change. In the Disney film Prince Phillip’s character was created so that the audience holds complete faith in the knowledge that he will always do the right thing.
The good fairies within the story are seen as one entity. They are kind; self-sacrificial, wise, loyal and their true happiness rests only on the fate of the princess. In contrast, the evil fairy exists only to “define the complete opposite of the good characters” (Sparknotes Editors, 2004). Her motivations never change, nor will her experiences lead her to. Within the Disney version of Sleeping Beauty Maleficent’s character holds no back-story to explain how she became evil or her intentions. She is solitary, angular, bitter and jealous. She lacks human companionship appearing to be unable to be loved or loved in return.
Sociocultural Issue – Internet Addiction:
With today’s reliance on technology people are now struggling to shed their “media skin” (Siew, 2010). Developing technology and the Internet has benefited people within the contemporary world, however negative ramifications have grown from this recent global development.
Beard and Wolf (2001) state that people are becoming increasingly preoccupied with the Internet, people’s inability to control their usage jeopardizes social relationships and functionality at work. The concept of Internet and online networking addiction is not a recent one; it has been an ongoing emerging disorder and is a reflection of society’s uncontrollable and damaging use of technology.
Sufferers of Internet addiction show signs of compulsive stimulation similar to that of drug addicts. Common characteristics such as excessive use, withdrawal, tolerance and negative repercussions show links in behavioral traits between the two addictions. It is because of these similarities that well studied procedures and treatments used in helping drug addicts can be adapted to treat Internet addicts. Bursten and Dombeck (2004) suggest a ‘Cognitive-behavioral’ form of therapy be used to help treat Internet addiction as it focuses on the reduction of an “out of control addict” and preventing of relapse.
There is no denying that the Internet is becoming a compulsive manner within society. Although it is not officially considered a disorder, it is recognised amongst the mental health professionals (Bursten & Dombeck, 2004). Dr Jerald Block states that “obsessive Internet use is a public health problem, which is so serious it should be officially recognized as a clinical disorder”. However, the controversy circling Internet Addiction is whether people are addicted to the Internet itself, or rather the user experience of stimulation and information (Bursten & Dombeck, 2004).
Research, Design and Development Intentions:
Through our research we have found the symbolism presented by Sleeping Beauty is a dominant portrayer of the key themes within. The most important/recognized symbol is that of sleep. The interpretations of this long sleep are varied. Bettelheim (1977) believes it is a representation of the wait for sexual fulfillment, occurring at the end of childhood as a way to prepare Briar Rose for womanhood. Bettelheim (1977) also declares is the only way to avoid change and development. Sleeping Beauty spends these years withdrawn and in inner reflection, remaining a young woman for a hundred years. This, of course, is unhealthy and must be broken by the transformation of the girl into the woman. Another understanding is simply an adolescent’s growth into adult knowledge (Sparknotes Editors, 2004).
Using sociocultural aspects and a modern day context we aim to portray the increasing issue of Internet addiction (in particular social networking) in the form of a short film. We aim to depict a hyper reality in which social networking has become such an addiction that rehab clinics have been set up. The patients suffer from extreme withdrawals similar to that of drug addicts. The real world and “e-world” are dismantled and networking addicts find it hard to face reality and socially lack physical and human companionship. Aurora’s (main character) reliance on technology forces her to “go offline,” be removed from the e-world and all it contains, therefore communicating the symbolism of the sleeping period so prominent in the traditional fairy-tale. The two main themes of Sleeping Beauty (true love conquers all and home is where the heart is) will be incorporated into the story, expressed through the love and support of Phillip (the prince) and also metaphorically represented through Aurora’s triumph over the digital world back into the “real” world.
The story will follow a multi-plot structure of two main characters Aurora (Sleeping Beauty) and Phillip (the Prince). These will interconnect and incorporate other elements of the good and bad fairy within. A possible character direction is to personify the bad fairy as the online social networking system and the good fairy through the use of a sub-character linked to Phillip. She never meets Aurora but her influence on Phillip indirectly affects Aurora’s life. An original script will be created, focusing on character development in a multi-plot structure. The final short film will also contain a strong emphasis on Art Direction.
Conclusion:
Storytelling is universal. The love for stories is a universal passion, one that has been prominent throughout the centuries. Fairy-tales were the first introduction to literature. They are viewed as remnants of past customs that are stored in the subconscious mind and hold an important place in the memories of childhood. Western society has removed itself from supporting Biblical values to embracing morality and self-sufficiency. Even so, the wonderful and frightening worlds that fairy-tales portray evoke a sense of familiarity and recognition, reminding us of the moral truths and life lessons we would not think of questioning.
Using themes and character traits taken from the fairy-tale Sleeping Beauty combined with sociocultural aspects and a modern day context, we aim to portray the increasing issue of Internet addiction (in particular social networking) in the form of a short film. This will be expressed through a fictional hyper-real world in which Internet addiction has become such a problem that rehab clinics have been set up. Following a multi-plot structure of the two main characters Aurora and Phillip, the short film will explore the “awakening” of Aurora as she removes herself from the “e-world” and back into the real world. Emphasis will be placed on an original script focusing on character development; this will then be used to inform the narrative structure.
