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Alice in the Land of Movies

100%
Ismajloska M.
Libri & Liberi
|
2014
|
vol. Volume 3
|
issue No.2
311-318
EN
The paper focuses on Tim Burton’s movie adaptation of the Alice books by Lewis Carroll. The distinction between the magical and the fantastic, and the miraculous and the wonderful that is resolved within the movie Alice in Wonderland (2010), carried within the infant nature present in Tim Burton’s grown-up Alice, redefines the standpoints of the fantastic, making child’s fantasy a literary-screen reality. In both cases, the frames of the fantastic, starting from a hint of the fictional and the wonderful, make a crossover towards the miraculous. According to Roger Caillois (1972), the fantastic expresses a scandal, a break, a strange, almost unbearable, penetration into the real world, and with its penetrations of the other side into the real world, it transforms itself into a poetics of the miraculous.
HR
Analizira se uradak Tima Burtona, filmska adaptacija knjiga o Alici Lewisa Carrolla. Razlikovanje čarobnoga i fantastičnoga, kao i čudotvornoga i čudesnoga koje se razrješuje u samome filmu Alice in Wonderland (2010), sadržano u dječjoj naravi odrasle Alice Tima Burtona, redefinira polazišta fantastičnoga, čineći dječju fantastiku književno-filmskom stvarnošću. I u književnoj i u filmskoj pripovijedi okviri fantastičnoga, polazeći od naznaka fikcionalnoga i čudesnoga, čine prijelaz prema čudotvornome. Prema Rogeru Cailloisu (1972), fantastično izražava skandal, raskid, čudno, gotovo nepodnošljivo prodiranje u stvarni svijet, a u tome prodiranju druge strane u stvarni svijet on se preobražava u poetiku čudotvornoga.
DE
Im Beitrag wird Tim Bartons Verfilmung von Lewis Carrolls Alice-Büchern besprochen. Die im Film Alice in Wonderland (2010) aufgelöste und in der Kindernatur von Bartons erwachsenen Alice enthaltene Unterscheidung zwischen dem Magischen und dem Fantastischen, dem Wunderbarem und dem Wundersamen, bestimmt aufs Neue die Standpunkte des Fantastischen, weil im Film die Kinderfantasie in literarisch-filmische Wirklichkeit verwandelt wird. In beiden Medien bilden die Rahmen des Fantastischen den Übergang zum Wunderbaren, indem sie die Spuren des Fiktionalen und des Wundersamen verfolgen. Laut Roger Caillois (1972) drückt das Fantastische einen Skandal aus, einen Bruch, ein befremdendes, beinah nicht auszuhaltendes Vordringen in die wirkliche Welt, wobei dann durch das Vordringen der anderen Seite in die wirkliche Welt diese zur Poetik des Wunderbaren umgewandelt wird.
2
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Tanatos wiecznie żywy. Tim Burton i jego (dozgonna) przygoda ze śmiercią

99%
Michniewicz A. H. A.
Creatio Fantastica
|
2017
|
issue 1(56)
69-82
EN
In the article Thánatos Forever Alive. Tim Burton and His (Undying) Adventure with Death Adam H.A. Michniewicz presents images of death in the works of Tim Burton, as well as in the works of several of his successors. In these movies, death is shown differently than in other works of contemporary popular culture. Terms such as death, illness, and old age have been repressed by society—but not by Burton, whose films remind us that talking about difficult subjects is not only important, but also necessary. To convey this message, the director uses a wide range of methods. He makes use of cultural heritage of various religions and civilizations. In conclusion, the author proves that Burton does not want to terrify the audience, but rather to encourage reflection on the meaning of death.
3
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Dawno, dawno temu na przedmieściach. Baśniowość w filmie Edward Nożycoręki Tima Burtona

99%
Fiłonowicz A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2015
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vol. 16
|
issue 25
85-94
EN
Once Upon a Time in the Suburbs. The Use of Fairy Tales in Tim Burton’s Edward Scissorhands   In the article, Tim Burton’s Edward Scissorhands is analyzed. Drawing from Vladimir Propp’s theory the author traces the presence of structures, and stylistic and narrative features characteristic of fairy tales. In the second part of the essay, it is argued that through the use of fairy tales Burton is able to introduce the motif of the rite of passage of the main protagonist.
4
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Autorskie (od)tworzenie. O intertekstualnych wątkach w twórczości Tima Burtona

93%
Żakieta K.
Ogrody Nauk i Sztuk
|
2013
|
issue 3
PL
Artykuł skupia się na analizie gier z konwencją, wykorzystaniu gatunków, symboli, schematów oraz klisz kulturowych w wybranych fi lmach Tima Burtona. Ważny aspekt rozważań stanowi dialogiczność między innymi takich fi lmów jak Edward Nożycoręki czy Jeździec bez głowy, bowiem właśnie żywioł intertekstualny czyni twórczość Burtona na tyle oryginalną, by móc ją określać mianem kina autorskiego.
EN
This article is focused on playing with convention, genre, symbols and cultural clichés in selected Tim Burton’s fi lms. The most important aspect of this work is the dialogism in such fi lms as Edward Scissorhands or Sleepy Hollow, because intertextuality is exactly what makes Burton’s work original enough to be considered an auteur cinema.
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