Appropriation
I have watched different ‘Alice in Wonderland’
video versions to make illustrations.
Illustration ‘Alice in
Wonderland’; Version 1; I.G.
They differ not only in the way how they have been presented, but fully meet
the fairy-tale’s metatextuality itself. Production – animated illustrations –
present obvious diversity of drawings, interpretation and targeted viewers’
audience. If one animated presentation is adapted for young readers based on
the original Carroll Lewis’ writing and tells story step by step about Alice
adventures falling in a rabbit hole, then other versions might be more
interpreted by individual artist’s view of point and more fit for teenagers
and/or young adults.
Whereas the wonderland is the
world of dreams and incredible things that might happen, in sake of a boundless
imagination of the artists there exist various kind of unexplained phenomenons
that have got a right form in the visual art. The infinite fantasy reflects the
artistic unconstraint and imparts inexhaustible ideas to make illustrations.
‘Alice in Wonderland’ meets the mystical (when a character acts influenced by
supernatural forces) realization of the
text. Fantasy is united with imagination and it also
can play an evolutionary and social psychology cognitive
function, to be analyzed
as the source, revealing a manifestation of feminism in the 19th century and overlooked in terms of
present, as well as being an
interesting example of the personalities of the formation of identity.
Adaptation
Alice’s
adventures are illustrated based on dreams, daydreams and memory showing a
fantastic reality. A main character’s (the girl) is transformed from a normal
to a monstrous and vice versa, there is granted supernatural power (tears
becomes the sea). Birds and animals speaks, argue and act as a sociable individuals
even a human beings. They may also be transformed into a material substance
(flamingos are croquet bats) or fade (the Cheshire cat able to even fly).
Various details (flying cap, bottle with liquid, cake and etc.) serves as an
aid to a strong visual illustrations exchange situations, strengthen the
element of fantasticality.
Illustration ‘Alice in
Wonderland’; Version 2; I.G.
The girl portrayed with loose hair, but wearing an apron. Loose hair
reflects the maturing of femininity and sexuality, but the apron symbolizes
childishness. An appearance in illustrations are mix of the child and young
women leaving her to question a viewer about her identity.
Realizing that the ‘Alice in Wonderland’ is the story about the girls
adventures, the transformations with its collision with obstacles are visual reflected
in illustrations.
The rabbit illustrated wearing masculine clothing attributes. A hat,
vest makes him significant, the clock that he has got represents running time
and manage Alice’s journey.
The Cheshire cat is drawn leaving for cats their common characteristic
such as fondness and an independence, as well as providing new features,
reflecting the personality frantically to mischievous crazy with a too broad smile.
Illustration ‘Alice in
Wonderland’; Version 3; I.G.
The wise worm is slightly changed to human being with attachment of
smoking pipe. Here the blue color represents masculinity, strength and
authority. It represents masculine society that educates what is appropriate
and acceptable womanhood in eyes of man.
Flowering
white roses are red, because they are painted and the card deck from paper
substance is transformed into human beings with heads, hands and feet. All
those details allow for illustrations to exhibit artists’ freedom,
unpredictability and attraction.
Strongest
and light shocking watched movie of others to me is the animation ‘Alice in
Wonderland’ by the artist Jan Svankmajer. His Alice represents
surrealism and post-modernism culture, events are like nightmares with the
rabbit cutting others with a scissors violently. Alice is a narrator and a
participant at the same time. When she sleeps, she encounters uncomfortable
situations trough adventures. The adult life is difficult, less attractive that
childhood, because of needed to solve problems and it is inevitable, then we
observe odd, somehow violently situations.
There is also
association with the political ideology of planned economy in Check Republic
(1955 - 1993) as the movie ‘Alice in Wonderland’ had been created in late 80’s
by Jan Svankmajer. The girl is surrounded by food, because it reflects the
artist’s planned economy (like soviet) regime’s feature to hold people underfed
and this way is controlling people influencing bodies negatively and affecting
spirit. This version of ‘Alice in
Wonderland’ provokes analytic thinking and adaptation of idea that generally
accepted perception of truth does not exist or the obvious, well know truth
about something might transform into fiction or to reach absurd statements
becoming nonsenses.
It shows that
the visual art is able not only to convey meaning of symbols and text, but to
speak about policy, reflect the contemporary world in a presence of the monumental
time, to mirror the destroying consumer culture and assert classical
values.
No comments:
Post a Comment