Beauty and the Beast 1991 v 2017 - Summer Swift

Beauty and the Beast Character Analysis

1991 Beauty and the Beast:

Belle: The character of Belle was adapted from the original writings to conform to the feminist movements of the 1900s. Belle’s relationship with her father appeals to the feminist movement as well. She is portrayed as an independent young woman who avoids the popular suitors and strays away from the village norms. Her father, which traditionally the male is seen as the head of the household, is weak and depends on Belle. Belle does most of the chores around their home, which opposes the feminist movement, but takes care of her father and is in a position of slight dominance over him. This appeals to the feminist movement.

Belle is seen as ‘odd’ because she can read and she yearns for adventure which adds to her independent character. In this version her father, Maurice, is an artist and inventor. No information is given regarding her mother, which appeals to the increasing numbers of single parent households which started to rise in the 1960s.

In the animated film, Belle shows signs of Stockholm syndrome. Stockholm syndrome is when a captured person begins to associate or show signs of appreciation towards their captor. This is obviously evident in the film since Belle has become imprisoned be the Beast, then learns to love him for who he is on the inside. This is a good message to young children: Love what is on the inside of a person, not the outside. But this is also a bad way to show the message as women who are abused by their partner are likely to stay with their partner because of Stockholm syndrome and domestic violence has been on the rise since the mid-1900s.

2017 Live Action Beauty and the Beast:

Belle: Belle in the new 2017 live action film still portrays the independent woman she is in the 1991 version. She still takes care of her father which pleases the Feminist movement, but also takes care of the chores around their home which opposes the movement. In the live action film Belle is a reader and an inventor. This makes more sense since her father is an inventor in the 1991 animated film and the 2017 film. Belle being an inventor pleases the Feminist movements of the 1900s because engineering is part of the STEM careers that women have more recently started to show interest in.

Belle is still playing victim to the Beast and Stockholm syndrome. In both films, Belle denies Gaston’s love because he is rude, controlling, and arrogant, and instead she falls in love with the Beast who is also rude, controlling, and arrogant. Belle in the live action film does not completely apply to be under the Stockholm syndrome, but in the end she still falls in love with the Beast who held her hostage. She does not completely comply because she had opportunities to escape but chose not to do so. The first occurred when she was escorted to her room by Lumiere. She tied the sheets together to make a long rope to climb out of her room, but stayed when Mrs. Potts entered. Her second opportunity was when she escaped on her horse but was attacked by wolves outside the castle gates. The Beast fought off the wolves and Belle chose to help him back into the castle and assist with his recovery. These opportunities were not given in the 1991 film. This adds to the feminist movement and the fact that women should leave abusive relationships. The fact that Belle stayed with the Beast opposes this message though, saying that no matter how bad the man is, you should nurture him back to health. With this message, Belle does fall under the Stockholm syndrome.  

Adaptation Semiotic Data Elaboration (Doom)

Doom (1993)

Adaptation- First of it’s kind the game hit the scene as a first person horror shooting game based on a unnamed space marine nicknamed “Doomguy,” running around killing invading demons from hell. This was the beginning of the popularized business model of online distribution of the game.

Ideology- Doom came out after the fall of the Soviet Union in 1991 but with the fear of the Ozone as well as the increase in satanic ritual abuse spreading panic throughout the U.S. there was a sense of something dark behind the things happening going on in the 90’s.

Genre- The genre is based on science fiction although a new form where the protagonist is not only fighting through Demon hordes but it is the decisions made by the player that decides what is to happen to the protagonist whether he lives of dies as he goes on a rampage.

Social history- Most of the ideology seen within the game is formed from the social issues around that time in the 90’s where there was a sense something dark approaching due to the cold war finally ending the U.S. population was trying to find knew things to have a new profound fear for which was the 27,000 nuclear weapons in the states of the old soviet union that could be used due to their being no real main power controlling all of them as well as the Ozone layer coming to light as the due to new debates of global warming.

Semiotics- Just going off of the main points of the story of the game the signs are of the fight between good and evil, where the doomguy symbolizes the good and the demon spawns being the evil that the U.S. population must fight to save their world.

Doom (2016)

Adaptation- The adaptation not necessarily changing the story itself but the way it is depicted. Going from pixelated demons to massive gruesome cyber-demons that seem to have no other reason to live but to crush you in your puny green space marine suit. The adaptation adds a few new points with the storyline being not only about killing demons but destroying a portal to hell that someone opened thinking they could control hell energy drawing the ideology and social history into why this is put in the new doom game.

Ideology- It’s 2016 and there is nothing more horrifying to the common U.S. citizen than that of having no control over a situation. The story begins with “doomguy” waking up to a portal that he must close because everyone else has failed and the only person that talks you through it is an artificial intelligence robot that only wants to contain the demons not destroy them. Artificial intelligence and having no control is a match made in heaven to describe the ideological fears of the 20^th century.  

Genre- Same genre as the very first science fiction horror shooter.

Social History- Social issues that add to this new adaptation are the ever present sense of insecurity of the everyday citizen and the idea of being in a terrorist attack.

Semiotics- For signs and symbols they have adapted as the ideology and social issues have where instead of the signs being over the idea of good and evil it is more over the sense of fighting the good fight and fighting for others lives kind of giving the doomguy a role of a hero who will sacrifice it all for the sake of others. The doomguy now symbolizes the patriotic citizen that is fighting the evil hordes of demons or terrorists that want to destroy life as the citizen knows it. 

Semiotics: Who Goes There & The Thing

Semiotics: Who Goes There & The Thing

Comparing Infections

Kaitlin Gomez

Who Goes There (1932)

Syntagmatic	Paradigmatic
Relationship between Blaire and work men	Antarctica vs. small rural population (environment change)
Relationship between Blaire and alien	Alien (non-human visage vs. human like qualities
Way of infection	Blood vs. Egg (think Prometheus)

Who Goes There, a science fiction novella by Campbell, was the launching point for John Carpenter’s The Thing (1982). The second movie produced followed the plot points of the story better than its counterpart in 1951. While there are similarities when it comes to both formats, the relationship that Blaire (the scientist) has with the rest of the twelve at the research station is different. In Campbell’s version Blaire is described as a small man and his way of viewing the alien places him as being odd or different from how the other’s view the alien as being dangerous. He views the Alien as being a low life form but having different experiences that would cause it to ‘produce different facial expressions’ and he wishes to study it(Campbell). His argument being that the alien’s experience would translate differently than their own on Earth.

Campbell wrote Who Goes There in the 1930’s. During that time, you had events like the Great Depression, a round of new immigrants showing up as well as Mexican Americans making an appearance. It could be argued that the Alien was supposed to represent the immigrants coming to the United States but there is no document that I found for this just my thoughts on it.

Who Goes There leans heavily on science and the rules that should be followed regarding it. Blaire believed that because the Alien was a ‘low life form’ they would thaw it and it would be dead. He believed that it would obey the laws of science according to the planet Earth, never thinking that it would have different ‘rules’ of its own. Campbell probably found some inspiration during the 1930’s because of discoveries happening in space, for example when Pluto was discovered (Wikipedia).

           

The Thing (1982)

Syntagmatic	Paradigmatic
Blood symbolizes aids	Blood vs. possession of mind

In the second movie adaptation for The Thing there is still a want of knowledge except now the context has changed. It’s important to know if they want to survive, where in Campbell’s novella it was more to learn to understand. The movie leans more towards science-fiction horror which fills the movie with more suspense where the very first movie was lacking.

During the 1980’s there was the identification of the Aid’s virus in the United States and the way that it was contracted between two people. Due to how strongly the movie placed the fast rate of infection from alien to human, it shows how quickly Aids could/did spread during that time of the 60/70’s. Followed by the actions taken to prevent its further spread. The movie shows several instances where the characters have to test their own blood for infection, again, putting symbolism on the blood carrying the infection.

V for Vendetta: Comparing the end scenes

Scene from V for Vendetta	issues of adaptation	ideology	genre	social history	semiotics
Ending of the film (2005)	The scene feels more pro-democracy and pro-America largely due to being written and produced by Americans post-9/11. In the end the viewer gets a distinct sense of “ Murica! Freedom! Yeah! Beat the bad guys!" It feels like a patriotic reminder that we're a nation "by the people and for the people" and puts an emphasis on individual rights to stand up against oppression.	The people (all dressed as V) march unarmed in solidarity and protest as the house of parliament blows up. This seems to be more of a call to reform rather than  a decision to demolish the oppressive government through the violent action of the people. It is likely that the filmmakers were afraid to show V without public support in a post 9/11 film because he would have likely been seen as a terrorist. To show him with public support, even when fighting the government, makes him a hero and avoids comparison to those who perpetrated the 9/11 attacks.	In modern dystopian fiction the morally right hero usually becomes the symbol (like in the hunger games and divergent) and leads a revolution. The film’s ending is more like that of modern dystopian fiction in it’s hopeful “we shall overcome together” message, in which V is a figurehead, and a martyr for the revolution.	This is reminiscent of a peaceful demonstration, one that one might see in a democratically run country. The “Yay freedom!” vibe also stems from the post 9/11 patriotism and nationalism boom. This ending is optimistic and seems to sing the praises of activists, peacefully standing up to a police state reminiscent of the civil rights movement. It is clear that the protestors are on the side of good and that they have won without violence or even saying a word.	The mass of people looks like a peaceful protest. This is pretty obviously a good thing with swelling music and troops dropping their weapons in refusal to kill their fellow citizens. There is a clear sense of good prevailing over evil in a non-violent way. It is worth noting that after the film the Guy Fawkes mask (which V wears, and later the average citizens wear) is adopted by protestors in the occupy wall street protests and the hacktivist group Anonymous.
Ending of the comic (1988)	The scene in the comic is more a parable about chaotic and free anarchy vs. stable and oppressive fascism. In the comic the victory is bittersweet and ambiguous as we are left to wonder if things will repeat themselves or if people can be trusted to self-rule responsibly.	A choice is presented by Evey (who is now dressed as V). The people are given a choice between “lives of our own or a return to chains”. This is a choice between chaotic but free anarchy and safe but crushing fascism. The choice is more difficult to make, but the people choose the former, charging forth in violent revolution and being shot at by military police.	In older dystopian novels, (like Orwell’s 1984 or Huxley’s Brave New World) the hero is killed, commits suicide is tortured or some combination of the 3 and the future is either uncertain or unaffected. The comic’s ending is more classically dystopian in which the outcome is either ambiguous or negative. Evey becomes V and therefore represents the side of anarchy after his death, but it is uncertain whether this change is good. The only thing that is certain is that there will be a change.	This is reminiscent of bloody revolutions like the Bolshevik revolution, French revolution, or the American revolution. This is hopeful, bloody, and desperate but the outcome is uncertain. Do they fail? Do the succeed? Do they turn to democracy/ fascism/communism/or some other form of government? We don't know.	The people charge forth in chaotic and violent revolution, throwing what look to  be either bricks or Molotov cocktails at armed and ready military police, who fire into the crowd. This could be seen as good (people gaining freedom) or as bad (people causing chaos or police killing rioters). It isn’t exactly clear since both ideologies are shown to have bad elements. Is anarchy better than totalitarianism? It is up to the crowd (and the reader) to decide

Expanded Notes for Planet of the Apes (1968) vs. Dawn of the Planet of the Apes (2014)

Andrew Lueker

Planet of the Apes (1968)

Adaptation: The original Planet of the Apes movie was adapted from a French novel of the same name by author Pierre Boulle (in Europe it is sometimes referred to as ‘Monkey Planet’), who also wrote the novel Bridge on the River Kwai, which was turned into an equally famous movie. Although Boulle was not involved in the movie adaptation, he was surprised at the success of the movie, stating that he thought the novel was ‘unfilmable’ (Wikipedia). There are very few differences between the original film and the novel, meaning that it follows the novel rather faithfully.

Ideology: The Planet of the Apes series has always been slightly more than your average sci-fi action movie in terms of social commentary. The first films major themes that make up its ideology are its religious, anti-war and most importantly racial commentary. Throughout the film the ape society’s religious beliefs are challenged with the appearance of Taylor, a human who can speak. Yet the leaders of the church stand by their belief and punish anyone who doesn’t believe in it, like the roots of Christianity in which the church had total authority. The films anti-war themes are largely in part to the apes’ rise to power as well as the film’s iconic and impactful twist ending. As for racism, the film is filled to the brim with allegories for racism from the ape’s treatment of Taylor as property rather than a sentient creature. The apes continue to treat Taylor as humans would monkeys throughout most of the movie.

Genre: Planet of the Apes has always been classified as a part of the sci-fi genre; maybe some would see it as sci-fi action/adventure (which is also what Wikipedia cites it as), but I’ve always found it to be a part of a subgenre of sci-fi movies that I’ve thought of as ‘political sci-fi’. These are sci-fi movies that have a political message or undertone attached to them. Some examples of political sci-fi that came before Planet of the Apes would be Fritz Lang’s Metropolis, a look into a Marxist interpretation of the future were the poor (proletariat) slave away doing menial work underground while the rich (bourgeoisie) live above ground in a utopian society, and 1951’s The Day the Earth Stood Still, a Cold War inspired sci-fi thriller featuring an alien desperately trying to warn the Earth of its violent tendencies.

Social History: Much of the Planet of the Apes ideology is borrowed from the social issues of the 60’s. Racism was rampant all throughout the 60’s and even with the passing of The Civil Rights Act of 1964, racism was still a large problem throughout the U.S., even trickling down to discrimination within the state government. At the time the film was made, Americans were enamored with the social issues surrounding the Vietnam War, making sense of the films anti-war message. Lastly, although somewhat of a lesser issue, religion often clashed with 60’s counterculture and movements such as 2^nd wave feminism.

Dawn of the Planet of the Apes

Adaptation: The Planet of the Apes reboot trilogy has very little to do with its original source material and instead acts as a retelling of the origins of the Planet of the Apes universe. None of the characters from either the book nor the original 1968 movie.

Ideology: The reboot trilogy maintains most of the themes and social commentary of its predecessors with a few exceptions. The anti-religious undertones of the original movie have been replaced with the dangers of science; a strain of an experimental drug escapes after a human is exposed to it, which ends up being the downfall of humanity in this version rather than centuries of war in the original. This film series focuses on how war between humans and apes harms each side, especially in Dawn in which anti-war ideals and pictures are littered all throughout. Also within the movie, the main character Caesar is portrayed with similar ideals to Martin Luther King Jr. whereas the evil ape Koba is like Malcolm X. Themes of racism are played around with but are not a focal point of the movie.

Genre: The reboot trilogy plays much more into the typical blockbuster sci-fi action genre than its predecessor. The original Planet of the Apes focuses far more on its social commentary then its somewhat sparse action scenes.

Social History: The change from religious to scientific themes is an appropriate change for the times, considering that there are far more modern controversies about science, such as vaccines and disease scares such as swine flu and Ebola, than religion today. The film’s anti-war themes are stronger than that of its predecessor, with bigger worries in modern society about nuclear war and terrorism, while its commentary about racism has been toned down as while racism is still a problem in America, its not as bad as it was in the 60’s.

Adaption Semiotic Data Elaboration Blog Post - Jerrod Coss

The Amityville Horror (1979) Broken wall scene
social history:
1979
70's horror theme
Based off true events
70's lifestyle
Helen Shaver, Margot Kidder, Michael Sacks and James Brolin



The Amityville Horror (2005) Broken wall scene
social history:
2005
00's horror theme w/ 70's lifestyle and appearance portrayed
Based off true events
Ryan Reynolds


Scary movies have had an effect on many and many scary movies have been made off of inspiration of true events.  the Amityville horror film is one of both.  I believe both versions had the same effect on horror fans in 1979 and in 2005.  both versions were scary with great dialogue and paranormal activities' taking place.  both versions were made by the inspiration and effect of the true crime events that occurred in 1974.

Alfred Hitchcock's "Psycho" (1960) vs "Bates Motel" (2013)

Abstract: 

         The sixties are known as "the age of youth" seeing as 70 million children from the post-war baby boom became teenagers and young adults. The movement away from the conservative fifties continued and eventually resulted in revolutionary ways of thinking and real change in the cultural fabric of American life. No longer content to be images of the generation ahead of them, young people wanted change, and when Alfred Hitchock introduced his movie version of Robert Bloch's novel, they got just that. From 1960 to 1970 a succession of social movements sought to stamp out inequalities in American society (civil rights, women's, and counterculture movements, as well as the stonewall rebellion). It could be argued that this was the perfect time for American Psycho to hit the big screen. By 2013, the audience for Bates Motel shrunk enormously in comparison to Psycho. I assume this is partially due to our new indifference to change. Not to mention, Alfred Hitchcock's shot of a flushing toilet was the first in movie history, due to it being seen as taboo. As of now, you can't so much as watch an episode of Game of Thrones without seeing peoples "no no squares". Due to this, I have concluded that we don't celebrate Bates Motel the way young adults our age celebrated Psycho due to the massive shift our society has taken in regards to the film industry; there are so many other "shocking" things on our TV's and in our lives now. 

During 1960 America:

-The war in Vietnam

-The war on poverty

-The fight for civil rights -Bob Dylan's hit 1964 song: The times they are a-changin"
-The Counterculture Movement
-Women's Rights Movement
-Stonewall Rebellion

Genre:

Wiki 1960:

Psycho (1960 film). (2017, September 30). Retrieved October 03, 2017, from https://en.wikipedia.org/wiki/Psycho_(1960_film)

Wiki 2013:

Bates Motel (TV series). (2017, September 30). Retrieved October 03, 2017, from https://en.wikipedia.org/wiki/Bates_Motel_(TV_series)

IMDB 1960:

 Psycho (1960). (n.d.). Retrieved October 03, 2017, from http://www.imdb.com/title/tt0054215/

IMDB 2013:

Bates Motel (TV Series 2013–2017). (n.d.). Retrieved October 03, 2017, from http://www.imdb.com/title/tt2188671/

Social History:

The Breakthrough in American Film/ Life in the 50's-60's:

ArtiSyndicate, S. W. (2010, October 31). A ‘Psycho’ analysis: Alfred Hitchcock’s spookiest movie brought with it the end of Hollywood innocence. Retrieved October 03, 2017, from http://www.nj.com/entertainment/movies/index.ssf/2010/10/a_psycho_analysis_alfred_hitchcocks_spookiest_movie_brought_with_it_the_end_of_hollywood_innocence.html

Counterculture Movement of the 1960's:
Flower Power. (n.d.). Retrieved October 03, 2017, from http://www.ushistory.org/us/57h.asp

 Social Issues in 2013:

Hafiz, Y. (2013, December 28). 2013 Social Issues Marked Shifts In Public Opinion, Pew Research Center Surveys Report. Retrieved October 03, 2017, from http://www.huffingtonpost.com/2013/12/28/2013-social-issues_n_4512600.html