The Chessmaster, on the other hand, would probably make an elaborate plan to deteriorate the security measures there before hiring someone to steal it for him. For example, if a trickster wanted something, he would probably break into where it's kept and steal it, usually tricking people into letting him through and taking it. Thus, Tricksters tend to be involved on a more personal level in their work while the Chessmaster works events from a higher level. While The Chessmaster focuses on manipulating events, the Trickster explicitly focuses on manipulating people. Anyways, the trickster has a goal, but tries to make is as difficult to guess as possible. Even craftier tricksters will make their actions not make sense considering their goals. However crafty trickster will make it multiple goals seems plausible when just looking at their actions. What our trickster wants to achieve can be just about anything, however most common is just for fun. While tricksters can be both women and men, I shall be referring to them as 'he' from now on. Madison, WI: Atwood Publishing, 2002, 7–19.The Trickster is the character than decieves most of the cast to achieve a goal unknown to the rest of the cast. “Tricksters and Duality” in Dance of Differentiation: Trickster and Ambivalence. Tuscaloosa, AL: The University of Alabama Press, 1993, 33–45. “Mapping the Characteristics of Mythic Tricksters: Heuristic Guide” in Mythical Trickster Figures: Contours, Contexts, and Criticisms. Tuscaloosa, AL: The University of Alabama Press, 1993, 13–32. “Historical Overview of Theoretical Issues: The Problem of the Trickster” in Mythical Trickster Figures: Contours, Contexts, and Criticisms. Tuscaloosa, AL: The University of Alabama Press, 1993, 1–12. and William Doty, “Introducing the Fascinating and Perplexing Trickster Figure” in Mythical Trickster Figures: Contours, Contexts, and Criticisms. The Signifying Monkey: A Theory of African American Literary Criticism. Detroit, MI: Wayne State University Press, 1998. Giving Up the Ghost: Spirits, Ghosts, and Angels in Mainstream Films. Paris: Cahiers du Cinema, 2010.įowkes, Katherine A. Jackson, MS: University Press of Mississippi, 2005, 9–15.įerenczi, Aurélien. “Mixing Beetlejuice” in Tim Burton Interviews. Tuscaloosa, AL: The University of Alabama Press, 1993, 193–201.Įdelstein, David. “Inhabiting the Space Between Discourse and Story in Trickster Narratives” in Mythical Trickster Figures: Contours, Contexts, and Criticisms. Jackson, MS: University Press of Mississippi, 2005, 37–88.ĭoueihi, Anne. Mystic, CT: Twenty-Third Publications, 1986.īreskin, David, “Tim Burton” in Tim Burton Interviews. Bloomington: Indiana University Press, 1984.īiallas, Leonard J. This process is experimental and the keywords may be updated as the learning algorithm improves.īakhtin, M. These keywords were added by machine and not by the authors. And in his struggle to create innovation within the confines of mainstream cinema, Burton himself often embodies (or endeavors to embody) a trickster-like role. Thus, a number of Burton’s films act as meta-tricksters, inverting or confounding a variety of cultural categories. Rather, the trickster can be seen variously as a person or character, as a narrative function within the story, and/or, in its broadest sense, as a story-telling technique that pervades an entire film. I am not suggesting that the trickster is a uniformly universal figure or an archetype in the Jungian sense. For example, in Corpse Bride (2005) the Land of the Dead is more colorful and “animated” than the Land of the Living, and the surreal but somewhat menacing underground world of Alice in Wonderland (2010) is full of tricky inversions. In addition, many of Burton’s films feature an inversion of mainstream values, a central characteristic of tricksters and trickster tales. Such characters include Beetlejuice, Jack Skellington, and Edward Bloom. Many of Burton’s films feature either a trickster-like character and/or other trickster elements. But a less obvious theme also informs much of his work, one that concerns an age-old “archetype” known as the trickster. They also feature variations on themes and characters related to his attraction to (some would say obsession with) loners and misfits and the macabre mixed with humor. Most people would agree that Tim Burton’s films exhibit a signature visual style.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |