The Wizard Of Oz, Bedknobs And Broomsticks

One of the Great Classics of the last 100 years has been The Wizard of Oz. Nearly everyone has seen it and if they haven’t seen it, they’ve heard about it. The Wizard of Oz has been considered a vividly imaginative work of fantasy in both its book and movie form. When the movie came out in 1939 America had its eye turned to the rest of the world as World War 2 unfolded yet it still captured the attention of many with its use of the new technology Technicolor and its fantastic story. At the time no one had ever considered it to be anything more than a work of fantasy, however as the years have gone by people have begun to notice certain aspects of the movie that relate to a time and eventually a movement that developed earlier in American history.

Fairy tales have existed for years, some starting as oral stories for decades before ever being recorded on paper. These tales continue to hold an importance in the present such that they reflect the changes in time and progression of thought and ideas. Over time, many fairy tales are retold for various reasons including reforming them to be used for new audiences to make the story more relatable or to convey a different point of view to various specific audiences. This can be seen in various renditions; Andrew Anderson’s Shrek can be compared to Steig’s “Shrek!” and Perrault’s “Sleeping Beauty in the Wood” and evaluated as a retelling of either based on specific criteria. Although some may argue that William Steig’s “Shrek!” appears more closely similar to Anderson’s Shrek, as evaluated from the presence of similar characters, general plot structure, and targeted audience, the movie Shrek is more closely a retelling of Charles Perrault’s “Sleeping Beauty in the Wood.”

in the chamber they might get a bit scared but then the film eases the

The placement of a prop or altering the way the light shines on a scene, however insignificant they may seem, are ways that the director can select and control meaning in a film. Such is in The Wizard of Oz (Victor Fleming, 1939), specifically during the scene where Dorothy (Judy Galand) has been locked in the Wicked Witch of the West's (Margaret Hamilton) castle room by herself; many aspects of mise-en-scene are noticeable. Many of the elements of the scene she is in contribute to her state and other aspects of the movie. The setting and props of the film all seem to centralize to where she is and how she got there. The light focus' just on Dorothy but also amplifies the intensity of the situation she is in. The behavior of

Fairy tales are timeless entities that will always be relevant in people’s lives. Fairy tales and stories offer entertainment, advice, and moral examples. The creation of fairy tales is important in the development of social norms. Children everywhere would read fairy tales and learn from them. As a result, these fairy tales are translated into multiple languages and allows people with different backgrounds to understand and relate to the story. People take these stories and adapt them to life around them. Within these adaptations of the same story, it is normal to observe slight differences that contribute as evidence in identifying the culture or societies in which these stories come from. Whether it is the slang of the dialogue or the change of location, modern producers and writers are known to take these classic stories and adding a significant twist to adjust to their cultural agenda. The movie, The Princess and the Frog, is a modern example of writers and directors creating a modern twist to the popular story of the Brother Grimm’s The Frog King. The Princess and the Frog and The Frog King both encode the mores, values, and beliefs of the cultures of the societies from which they come because, even though they both have similar plot ideas, the differences of the location and the differences of the overall specific plotlines attribute to understanding how their own specific cultures influence the adaptation and the actual story.

The Wizard of Oz is an early film but editing is used quite a bit. First off, the absence of color in the beginning and the ending of the film. This sets an overall feeling of Dorothy being home. Next the film turns to color once Dorothy dreams of being in a different world, the color, yet again, set an overall mood for Dorothy in this new world “Over the rainbow.” The first steps of Dorothy being in the world of The Wizard of Oz gives off an example of inside and outside editing. The shot begins with a close up of Dorothy’s face and the camera slowly moves out to show everything else around Dorothy, which was the start of the yellow brick road and Munchkin land. After the viewer see all of that, the camera moves back in to Dorothys face when she says that they are not in Kansas anymore. One editing transition used a lot in The Wizard of Oz is the fade-in and dissolve. Another is cross-cut, two events occurring at the same

In 1939 one of the most memorable film was released, The Wizard of Oz. In 1978 The Wiz, an urban reimaging of the exemplary novel, The Wonderful Wizard of Oz put an African American vibe to a film. The novel turned into films follows the adventures of Dorothy, a girl who embark on an adventure in strange and fantastical land just wanting to go back home. In this essay I’m going to plot each film and compare the main character of Dorothy, the Scarecrow, Tin Man, Cowardly Lion and the Wiz and discuss how the design and music differ from each film.

Although the best reasons for “going to the movies” are to be entertained and eat popcorn, understanding a film is actually quite complex. Movies are not only a reflection of life, they also have the capability of shaping our norms, values, attitudes, and perception of life. Through the media of film, one can find stories of practically anything imaginable and some things unimaginable. Movie-makers use their art to entertain, to promote political agendas, to educate, and to present life as it is, was, or could be. They can present truth, truth as they interpret it, or simply ignore truth altogether. A movie can be a work of fiction, non-fiction, or anything in-between. A film is an artist’s interpretation. What one takes away from a film depends upon how one interprets what has been seen and heard. Understanding film is indeed difficult.

Stories have deeper meaning than what they appear. Life events such as the government, economy, or something happening to an individual can inspire them to express themselves through writing. In the original story of “The Wizard of Oz”, it tells a tale far more than people realize. The story portrays the government during the time period and hidden symbolism within the story and characters.

Frank Baums, The Wizard of Oz is arguably one of the most popular films made. Even though it was released in 1939, nearly three-quarters of a century ago, the film continues to entertain audiences and speak to them in a personal way. The question that comes to the mind when analyzing this film is: What is it about this film that gives it such timelessness? When reflecting on the film’s timeless qualities, it seems clear the plot is one of the things that enable it to maintain its relevance. Primarily, the plot of The Wizard of Oz is timeless because it is such an excellent example of the heroic journey, both in literally and cinematically. This journey of self-awareness is a metaphor for growth, which is something we all search to discover

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

What makes for a classic Hollywood film? Increasingly, films have evolved to the point where the standard by which one calls a “classic Hollywood film” has evolved over time. What one calls a classic film by yesterday’s standards is not the same as that of today’s standards. The film Casablanca is no exception to this. Although David Bordwell’s article, “Classical Hollywood Cinema” defines what the classical Hollywood film does, the film Casablanca does not exactly conform to the very definition that Bordwell provides the audience with in his article. It is true that the film capers closely to Bordwell’s definition, but in more ways than not, the film diverges from Bordwell’s definition of the typical Hollywood film.

“Animation offers a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world,” said Walt Disney of his beloved cartoons. While it is true that cartoons are an interesting medium of visual entertainment, their unique ability to convey information to people, adults and children alike, make the animated film medium one of the most far reaching means of propaganda. Today it is impossible to imagine American animated cinema without Disney and its cartoons. The American captivation with Disney has not changed much in the seventy years since World War II. In the early 1940s, two thirds of Americans went to the movies every week and these moviegoers were enamored

Booker, M. K. (2013). The Twenty-First-Century Fantasy Film Explosion: Redefining a Film Genre. In M. i. Booker (Ed.) , Contemporary Speculative Fiction (pp. 231-245). Ipswich, MA: Salem

The Wizard of Oz is a classic American film interpreted from L. Frank Baum’s book published in 1900. We have all seen the film as a child and enjoy it equally as adults. It is a film we watch repeatedly to experience the wonders of our imaginations. There are many key elements that have made this film a notorious childhood memory as well as an American classic that we have treasured for generations. How could we forget the magical characters, the music, and the outstanding cinematography?