The Fantasy Film by Katherine A. Fowkes(auth.), Barry Keith Grant(eds.)

By Katherine A. Fowkes(auth.), Barry Keith Grant(eds.)

The fable Film offers a transparent and compelling assessment of this revitalized and explosively well known movie style.

  • Includes analyses of a variety of motion pictures, from early classics equivalent to The Wizard of Oz and Harvey to Spiderman and Shrek, and blockbuster sequence comparable to The Lord of the Rings trilogy and The Harry Potter movies
  • Provides in-depth ancient and important overviews of the style
  • Fully illustrated with display pictures from key motion pictures

Content:
Chapter 1 what is in a reputation: Defining the Elusive delusion style (pages 1–14):
Chapter 2 as soon as upon a Time: a short historic assessment (pages 15–37):
Chapter three a quick serious assessment: Literary and picture myth, technology Fiction and Horror (pages 38–54):
Chapter four The Wizard of ounces (1939): Over the Rainbow (pages 55–67):
Chapter five Harvey (1950): a contented Hallucination? (pages 68–80):
Chapter 6 constantly (1989): Spielberg's Ghost from the prior (pages 81–91):
Chapter 7 Groundhog Day (1993): No Time just like the current (pages 92–103):
Chapter eight vast (1988): physique and Soul/“Hearts and Souls” (pages 104–113):
Chapter nine Shrek (2001): Like an Onion (pages 114–123):
Chapter 10 Spider?Man (2002): The Karmic net (pages 124–133):
Chapter eleven The Lord of the earrings (2001–3): Tolkien's Trilogy or Jackson's Thrillogy? (pages 134–144):
Chapter 12 The Chronicles of Narnia: The Lion, the Witch and the cloth wardrobe (2005): A pleased Spell (pages 145–155):
Chapter thirteen Harry Potter I–VI (2001–9): phrases are Mightier than the Sword (pages 156–170):
Chapter 14 end: think That! (pages 171–174):

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Extra info for The Fantasy Film

Sample text

The boy must eventually separate himself from his dependency on – and desire for – the mother and must face up to his father. In doing so, the boy becomes more ‘‘man-like,’’ thereby maturing and perpetuating the heterosexual family configuration. But the child must also repress this guilty ‘‘fantasy’’ of desiring the mother and harming the father, and so Bettelheim and others argue that the symbolic content of fairy tales helps children work through such conflicts on a subconscious level. Although Freudians draw heavily on the Oedipal myth, the relationship between fairy tales, myths, and the unconscious is highly complex, A BRIEF CRITICAL OVERVIEW 43 E1C03_1 01/20/2010 44 particularly because each of these terms is defined differently by different scholars.

In contrast to those like Irwin or Tolkien who attempt to circumscribe the boundaries of fantasy, a more open-ended approach can be found, for example, in The Encyclopedia of Fantasy. In this indispensable tome, John Clute and John Grant acknowledge the debt that modern fantasy owes to antiquity, but also explore the many tendrils of fantasy across genres, movements, and modern media – including film. Like Tolkien they note a number of the so-called ‘‘taproot texts’’ that contribute to the ‘‘cauldron of story,’’ such as Apuleius, Bunyan, Cervantes, Chaucer, Dante, Malory, Rabelais, and Shakespeare, to name just a few (ix).

The value of Hume’s position lies in the A BRIEF CRITICAL OVERVIEW 41 E1C03_1 01/20/2010 42 acknowledgement that what we choose to call fantasy is a question of degree and not of kind. Just as fantasy, science fiction, or horror fall along a continuum, so do realist and fantasy elements. Fantasy has the potential to challenge the status quo since it can explore what would otherwise be repressed, and so it is not surprising that psychological analyses of the genre are common. In Fantasy: The Literature of Subversion, Rosemary Jackson focuses on the many fantastic and Gothic texts that inform Todorov’s work, seeing the fantastic as being particularly open to a psychological reading because of its connection to fantasy as a mental process.

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