怪物史萊克學(xué)習(xí)

怪物史萊克學(xué)習(xí)第1頁(yè)/共47頁(yè)IntroductionProductionCharacterTheviewsaboutlovePostmodernisminShrekShootingtechnique第2頁(yè)/共47頁(yè)Introduction

Shrek(MikeMyers),agreenogrethathasalwaysenjoyedlivinginpeacefulsolitudeinhisswamp,findshislifedisruptedwhennumerousfairytalebeings,includingPinocchio,theThreeLittlePigs,andDonkey(EddieMurphy),areforcedintotheswampbyorderoftheobsessiveLordFarquaad(JohnLithgow).第3頁(yè)/共47頁(yè)ShrekdecidestotravelthecountrytoseeFarquaadtotrytoregainhisprivacy,withDonkeytaggingalong.Meanwhile,FarquaadtorturestheGingerbreadManintorevealingthewhereaboutsoftheremainingfairytalecreaturesuntilhisguardsrushinwithanobjectFarquaadhasbeensearchingfor:theMagicMirror.第4頁(yè)/共47頁(yè)TheMirrortellshimthatFarquaadtechnicallyisn'takinganddoesn'tbecomeoneuntilhemarriesaprincess.TheMirrorgiveshimthreeprincessestochoosefromincludingCinderella,SnowWhite,andPrincessFiona(CameronDiaz).FarquaadchoosesFionaandsilencestheMirrorbeforehecanmention"thelittlethingthathappensatnight".

第5頁(yè)/共47頁(yè)hetwomakeittoFarquaad'spalaceinDuloc,wheretheyfindthemselvesinthemidstofatournament;thewinnerwillhavethe"privilege"ofattemptingtorescueFionafromacastlesurroundedbylavaandprotectedbyafire-breathingdragonsothatFarquaadmaymarryher.ShrekandDonkeyeasilybeattheotherknights,andFarquaadagreestoremovethefairytalecreaturesfromtheswampifShrekgoesontorescueFiona.第6頁(yè)/共47頁(yè)ShrekandDonkeytraveltothecastleandsplituptofindFiona.Donkeyencountersthedragonandsweet-talksthebeasttosavehimselfbeforediscoveringthatthedragonisfemale.DragontakesalikingtoDonkeyandcarrieshimtoherchambers.第7頁(yè)/共47頁(yè)

WhenShrekfindsFiona,sheisappalledathislackofromanticism.Astheyareleaving,ShrekmanagestosaveDonkey,caughtinDragon'stenderlove,andcausinghertobecomeirate,chasingShrek,Fiona,andDonkeyoutofthecastle.Atfirst,FionaisthrilledtoberescuedbutquicklybecomesdisappointedwhenshefindsoutthatShrekisanogre.第8頁(yè)/共47頁(yè)thethreemaketheirreturnjourneytoFarquaad'spalace,withShrekandFionafindingtheyhavemoreincommonwitheachotheralongtheway,andfallinginlove.However,atnight,Fionarefusestocampwiththem,takingshelterinanearbycaveuntilmorning.ShrekandDonkeystayawakeandwatchthestarswhileShrekinformsDonkeythatheplanstobuildawallaroundhisswampwhenhereturns.第9頁(yè)/共47頁(yè)

WhenDonkeypersistsastowhyShrekwoulddothis,Shrektellshimthateveryonejudgeshimbeforetheyknowhim,thereforeheisbetteroffalone.Thenextnight,Fionatakesshelterinanearbywindmill.WhenDonkeyhearsstrangenoisescomingfromthewindmill,hefindsFionahasturnedintoanogress.Fionaexplainsshewascursedasachildandturnsintoanogreeverynight,whichiswhyshewaslockedawayinthecastle,andthatonlyakissfromhertruelovewillreturnhertoherproperform.

第10頁(yè)/共47頁(yè)Shrek,abouttoconfesshisfeelingsforFiona,overhearspartoftheirconversation,andisheartbrokenashemisinterpretsherdisgustathertransformationintoan"uglybeast"tobedisgustedwithhim.FionamakesDonkeypromisenottotellShrekaboutthespell,vowingtodoitherself,butwhenthenextmorningcomes,ShrekhasbroughtLordFarquaadtoFiona.Thetworeturntothecastle,whileahurtShrekreturnstothenow-vacatedswamp.第11頁(yè)/共47頁(yè)Shrekfindsthatdespitehisprivacy,heismiserableandmissesFiona.DonkeyshowsuptotellhimthatFionawillbegettingmarriedshortly,urgingShrekintoactiontogainFiona'struelove.TheyareabletotraveltoDulocquicklythankstoDragon,whohadescapedherconfinesandfollowedDonkey.TheyinterrupttheweddingbeforeFarquaadcankissFiona,butnotbeforethesunsets,whichcausesFionatoturnintoanogressinfrontofeveryone.第12頁(yè)/共47頁(yè)WhilehertransformationcausesShrektofullyunderstandwhatheoverheardatthewindmill,Farquaad,disgustedoverthechange,ordersShrekkilledandFionaimprisoned,butDragonburstsinanddevoursFarquaad.ShrekandFionaadmittheirloveforeachotherandshareakiss;Fionaisbathedinlightashercurseisbroken,第13頁(yè)/共47頁(yè)

butissurprisedtofindthatshehasremainedanogress.Shrekcalmsherbyassuringherthatsheisstillbeautiful.Thetwoofthemgetmarriedintheswampanddepartontheirhoneymoonwhiletherestcelebratebysinging"I'maBeliever".第14頁(yè)/共47頁(yè)P(yáng)roduction

RobinWilliams,whohadworkedforJeffreyKatzenbergbeforeinAladdinandhadabitterfallingoutwithhimandTheWaltDisneyCompanyovermarketingagreements,hashintedinaninterviewthatherefusedaroleinShrek,becauseitwouldmeanworkingforKatzenbergagain.Hewouldnotstatewhichrolehehadrefused第15頁(yè)/共47頁(yè)ListofShrekcharactersMikeMyers-Shrek

EddieMurphy-Donkey

CameronDiaz-PrincessFiona

JohnLithgow-LordFarquaad

ConradVernon-GingerbreadMan

ChrisMiller-Geppetto/MagicMirror

CodyCameron-Pinocchio/TheThreeLittlePigs

第16頁(yè)/共47頁(yè)MichaelGalasso-PeterPan

ChristopherKnightsandSimonJ.Smith-ThreeBlindMice

ChristopherKnights-TheloniusAronWarner-BigBadWolf

JimCummings-CaptainoftheGuardsJeromeDeGuzman-BlindMouse

VincentCassel-MonsieurHood(aFrenchrenditionofRobinHood)KathleenFreeman-OldWoman(Donkey'sex-owner)AndrewAdamson-DulocMascot(amandressdinasuitthatlookslikeLordFarquaad)第17頁(yè)/共47頁(yè)There’snoloveintheworldjustlikethetaleisnotexistintheworld.Talesandlovecanonlyexistinyourownheart.Weshouldhaveaoptimisticattitudeaboutourlifeandthehopefulfutureinsteadofdoingnothing.JustlikethespiritofShrek.Theviewsaboutlove第18頁(yè)/共47頁(yè)thereisastoryabout“TheBeautyandBeast”andwealsoheardthatthewolflovesthesheep.Thisistheoppositeofthetraditionaboutthethemoflove.Pleasethinkaboutit,ifthewolfmarriedtothesheep,whatwillhappen?Willitbeacceptedbyus.Mostofuswillabsolutelysayno.Itissoridiculous,butifithappenourworldwillbeharmonious.Shrekmarriedtoaprincessjustpresentthistheme.第19頁(yè)/共47頁(yè)Iliketheendofthestory.WhentheprincesskissedShrekshebecameamonstertoo.Theycanbegintheirnewlifeinthemarsh.Thiskindofendinggiveusmorespacetothinkaboutlifeandpavedthewayfortheirfuture.Thebeautybecameamonster,isthatapity?Idon’tthinkso.Forthelovedone,changebecamelessimportant.第20頁(yè)/共47頁(yè)InfactIdon’tthinkShrekisamonster.Monster,whatisthedefinitionofmonster?Theappearanceisn’tlikeourscalledamonster,isn’tit?Absolutelynot.Whenachimpanzeeseeabeautifulhumanlady,hemaynotthinktheladyisprettybecausethere’snofursonthelady.Sothedifferencebetweenuglyandbeautyisjusttheconceptionsinourminds.第21頁(yè)/共47頁(yè)

beautyissuccessful,thebeautyofathingisascertaintypeofindividualthingsinthefulldevelopmentoftheuniquecharacter"Shrek"isbeautiful第22頁(yè)/共47頁(yè)honorThecartoonfilmShrek,releasedintheyear2001,hasbeenagreatsuccessandhaswonthe74thOscarAwardin2002.Itssuccesscanbetracedbacktoitsdistinctivefeatures.Ononehand,itsubvertsourexpectationofthecharactersinclassicfairytalesbyaddingsomepost-modernistelements.Whileontheotherhand,theplotsandnarrationofthisfilmareinheritedfromtheHollywoodstyle,whichincludesthehappyendingwiththeheroandheroineliving“happilyeverafter”第23頁(yè)/共47頁(yè)P(yáng)ostmodernismWritingfromthe1960sforwardcharacterizedbyexperimentationandcontinuingtoapplysomeofthefundamentalsofModernism,whichincludedExistentialismandalienation.PostmodernistshavegoneastepfurtherintherejectionoftraditionbegunwiththeModernistsbyalsorejectingtraditionalforms,preferingtheanti-noveltothenovelandtheanti-herooverthehero.第24頁(yè)/共47頁(yè)Theoreticalcharacteristicsofpostmodernism1.Anti-foundationalism,anti-essentialistreductionism2.Denytheintegrity,identity3.Againstthecenter,lookingfordifferencesanduncertainties4.Opposedtorational,moderndigestion5.Againstthecorrespondencetheoryoftruth,emphasizedpragmatismandknowledgeofthecommercializationofTruth第25頁(yè)/共47頁(yè)Introduction"Shrek"isapost-modernistclassic.Thefilmfullyembodiesthepostmoderndeconstructionoftheclassicandtraditionalaswellasthetraditionalconstructionoftheneweffort.第26頁(yè)/共47頁(yè)P(yáng)ostmodernismisthemostprominentfeatureofthetraditionalandclassicaldigestion,subversion.Itistheclassicalpast,deformationre-use,destructionofsomeofthetraditionalknowledgeandputforwardortheperformanceofthenewmorepsychologicalpointofviewoftoday'speople.In"Shrek,"wecanseemanyfamiliarthingsbutspecious.SnowWhiteandtheSevenDwarfsasthestoryoftheMirror,theWesterntraditionofthePrinceandPrincessstories.第27頁(yè)/共47頁(yè)P(yáng)rinceorprincessingeneralisacurseandturnedintosomethingoralongsleepandsolovedthathe(she)whocanliftthecurseafterthekiss,butinthisdramatheactorbecameuglyShrek,Princessisonly"thesameasthestoryof"pretendingtofallasleepwaitingfor"PrinceCharming"thekiss,shewillbeverybolddesiretolove,thelastprincessmorebeautifulbutnotugly,andso"theprinceandprincessliveugly,butveryhappylife."Thefilmeverywherecomparisonwiththetraditionalclassic,constantlyengageinsabotage.第28頁(yè)/共47頁(yè).Anewlinewithwhattheconceptofmodernlife.First,itsuccessfullyraisedanewconcept.Thefinalstoryhasnotliftedthecurseoftheprincess,beautifulprincessugly,buttheyarefranklyaccepteditall.

Therefore,theabsoluteconsummationisimpossible,itisunrealistictosuccessfullycompleteonlythemajorfactors,whichisanewpost-modernconceptofart.Tastemoreoflifetoenjoy,youmayfindhappiness.Thisisthemoralofthefilm.Postmodernismisatraditionalcultureanddevelopment.第29頁(yè)/共47頁(yè)Effect"Shrek"extensiveuseofpost-modernisttechniqueofexpression,especiallyincharacterization,theboldandtheclassicfairytaleinthetraditionofsubvertingtheroleofimageandtheroleofseveralfairytalestogether,butthesetheimageoftheaudiencearefamiliarwithsomeofthechangesmadesothattheydifferfromtheaudiencearefamiliarcharacters,andevenaddedastalking,donkeyramblethisimageasahero,givingafreshfeel.第30頁(yè)/共47頁(yè)Character1.Shrek2.PrincessFiona3.othercharacters第31頁(yè)/共47頁(yè)

prince

Intheclassicfairytale,theprinceishandsomebutbrave,"theyaimforanobletorescuethesufferingpeople."Theywillbedanger,removeallobstaclestofindtheprincess,getridofwildbeastsandwicked(asin"SnowWhite"and"Cinderella"inthesame)tosavetheprincess,theprincessfinallygettheloveandhappinesswithherlifeintogether.第32頁(yè)/共47頁(yè)Shrek

Inthe"Shrek",withthebeautifulmusicplayinginitisanugly,dirtymonster.Helivesaloneintheswamp,coveredwithgreenhair,faceugly,dirtyandsmelly.Evenhischaracter,isalsoincompatiblewiththeimageofthetraditionalprince.Shrekandlonelyandevensomeautistic,badtemper,selfishness.

Graduallychanged.Pullbacktotoothiswaytobecomefriendswiththedonkey,theShrekfinallytotheaudienceofhisrichandfragileinnerworld.Shrekkind-hearted..Hissincereandsensitivefeelings,fearofinjury.PullbacktotoottheroadbetweenShrekandPrincessFionahadadeepaffection,butbecauseShrekPrincessFionahasbeenworriedthatwillnotagreetomarryamonsterandnotbraveenoughtoherconfession.Asifheisthepeoplearoundus,fleshandblood,.第33頁(yè)/共47頁(yè)P(yáng)rincessFionaPrincessFionasawsomeonecomeandsaveherpretendedtosleeponthebed,orevenwanttotaketheinitiativetoacceptherimaginaryprincekiss.Thisclassicfairytaleofshy,pleasant,elegantimageofthealienprincess.Waybacktotootpullherperformanceisthesubversionoftraditionalprincess.Fionanotreallygood,notweak.TreesnakemadeofballoonstogiveShrekplay.Naisnotpassivewaiting,buttaketheinitiativetofight.SheboldlyexpresstheiryearningfornewlifeandtheloveforShrek,finallygothislove.第34頁(yè)/共47頁(yè)

talkingdonkeyAnotherprotagonistofthestorytalkingdonkeyisalsotheprotagonistoftheclassicfairytaleimageofsubversion.Intheclassicfairytale,thehandsomeprincetoridehorsestorescuetheprincess.Inthe"Shrek"inconjunctionwith第35頁(yè)/共47頁(yè)ShrektorescuePrincessisaramble,abitneurotic,talkingdonkey.Hischeerfuloptimism,enthusiasmbrightbuttimid.ComparedtotheclassicfairytaleprinceofStallion,heismorelikeanexchangeoffriends.Ultimatelytheencouragementofthedonkey,ShrekandPrincessFionahaveloversgetmarried,theendofthestory,Subversionofthetraditionaldonkeyistotheextreme:henotonlycansingrock,butalsofellinlovewiththedragonguardingthecastle.第36頁(yè)/共47頁(yè)

othercharactersFarmersregardlessoftheoriginalhonestgoodtokillindiscriminatelyShrek;puregoodnessSnowWhiteandtheSevenDwarfscohabitation;goodoldcarpenterforafewgoldcoinstosellthepuppetPinocchio;Dupullrulermethodisonlyanappearanceofadultgramugly,sordidinnerclown;outlawRobinHoodbecomearoguebanditheavy,butmartialartsisnotstrength,andevenbeatthePrincessFiona.第37頁(yè)/共47頁(yè)amirrortoseethepuppetmasterofcolorwords,talentshowhost,becameamajorcandidate'swifeFacktools;第38頁(yè)/共47頁(yè)fiercedragon

Thefiercedragonhasbecomeacruelliketohearcomplimentsthesmallwoman;eatLittleRedRidingHood'sLangwaiPohasbecomeagentle,liketowatchfashionandentertainmentmagazine.Thesefiguresareplausiblepostmodernsubversionoftheclassicfairytaleandtransformtheresulttobe第39頁(yè)/共47頁(yè)the"Shrek"storynarrativetechniqueandpointofview,itstillcontinuestheclassicfairytalenarrativekernel,isatraditionalHollywood-stylefairytale..第40頁(yè)/共47頁(yè)

Classicalliterature

Threeparts:beginning,developmentandclimax.Thethree-segmentstructureafter17,theeighthcenturywassummedupthedevelopmentofclassicisminto"unities",namely:thebeginningofthestoryleadstotheeventandintroducedthemaincharacters;themiddlepartoftheinconsistenciesandtoinitiateaction;theendofthecompletionofactionandresolvecontradictions.Fairystorydevelopmentinalmostallfaithfullyfollowedthis第41頁(yè)/共47頁(yè)

Th