From Literary Narrative to Film Adaptation: “Sleeping Beauty” and “Maleficent” – A Study in Comparative Literature

Cardoso, Luís; Fonseca, Ana Margarida

doi:10.46827/ejlll.v4i1.169

Cited by 2 publications

(2 citation statements)

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“…The advancement of technology and the development of media go hand in hand, and narrative, as an important activity for humans to understand and reflect on the world, has a long and rich history. From totemic narratives, oral narratives, literary narratives, broadcast narratives, and film and television narratives to digital Internet narratives [1][2][3], the process of human narrative development is the process of media evolution, and each narrative is inseparable from its media carrier [4]. Along with the advent of the era of big data and integrated media, transmedia narratives have shown an irreversible and strong development.…”

Section: Introductionmentioning

confidence: 99%

The cultivation system of cross-media narrative ability of scriptwriter talent based on cluster model

2023

Applied Mathematics and Nonlinear Sciences

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The arrival of the era of big data and integrated media has changed the way of media communication and broken the original single media narrative model. The interaction and communication between traditional media and emerging media have formed a new paradigm of narrative, i.e., cross-media narrative. Based on the purpose of studying the cross-media narrative ability cultivation system of screenwriting art talents, this paper analyzes the market growth of cross-media narrative works in the era of integrated media and the audience’s perceptions of cross-media narrative works such as IP adaptations using the K-means clustering method. From 2018 to 2021, the market share of cross-media narrative works grew from 21.1% to 35.3%, while traditional single-media narrative works declined by 34.76%. Faced with the surge of transmedia narrative works, 29.5% of viewers think the stories are unattractive, too homogeneous, and lack freshness. Another 24.6% of viewers think that the plot lacks originality and only copies novels. Another 33.2% of viewers think there is plagiarism and piracy. The current cross-media narrative works still have many problems, such as rough production and a lack of polished plots. The education of film and television scriptwriting should focus on the cultivation of cross-media narrative quality, the enhancement of cross-media narrative ability, and the training of cross-media narrative skills for scriptwriting talents to cultivate high-level applied scriptwriting talents who can connect with the industry.

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Section: Introductionmentioning

confidence: 99%

The cultivation system of cross-media narrative ability of scriptwriter talent based on cluster model

2023

Applied Mathematics and Nonlinear Sciences

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“…Initially appeared in Charles Perrault's work entitled Sleeping Beauty in 1697, the Grim Brothers retold Maleficent as an evil fairy who cursed Princess Aurora as a sleeping beauty (Cardoso & Fonseca, 2020;Widyahening & Wardhani, 2021). Maleficent's powerful yet evil traits were maintained in Disney's animated version released in 1959 (Widyahening & Wardhani, 2021).…”

Section: Introductionmentioning

confidence: 99%

Maleficent As an Affectionate Fey in Disney’s 2019 Maleficent: Mistress of Evil

Suwastini,

Setyadewi,

Saputra

et al. 2022

HUMANIKA

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Although Maleficent’s characterizations as wicked witch by the first Disney’s adaptation into Maleficent in 2014, the beginning of the 2019 sequel Maleficent: Mistress of Evil started with a prologue that Maleficent was narratively still considered evil, from which the plot evolves to reveal how the marginalizing characterization prevailed. Amidst this entanglement between the film’s plot and Maleficent’s character revelation, the present study aimed at elaborating Maleficent’s characterizations as an affectionate fey. The present study employed McKee’s (2003) textual analysis to observe Maleficent’s characterizations along the plot development, to reveal how the film portray Maleficent’s affectionate dispositions despite her formidable strength and appearance. The study concludes that Maleficent affections are highlighted through her actions toward the moors and the marginalized, as well as her blessings for Prince Phillip, underlining her willingness to admit her misjudgment and to repent because of her love for Aurora. This finding implies that the film’s plot development strongly relies on Maleficent’s character development facilitated by her strong affection as a surrogate mother.Although Maleficent’s character as a wicked witch has been deconstructed by the first Disney's adaptation of Maleficent in 2014, the beginning of the 2019 sequel Maleficent: Mistress of Evil started with a prologue that Maleficent was narratively still considered evil, from which the plot evolves to reveal how her marginalizing traits prevailed. Amidst this entanglement between the film's plot and Maleficent's character revelation, the present study aimed at elaborating on Maleficent's personality as an affectionate fey. The present study employed McKee’s (2003) textual analysis to observe Maleficent’s character development along the plot development to reveal how the film portrays Maleficent's growing affectionate dispositions despite her formidable strength and appearance. The study concludes that Maleficent's affections are highlighted through her loving, nurturing, and protective traits toward Aurora, the creatures of the Moors, other feys, and humans. With the depiction of these traits, Maleficent emerged as an affectionate Fey in human's eyes. They eliminate the prejudice against Maleficent, the feys, and the fairies, fostering a harmonious life between humans, the feys, and the fairies.

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From Literary Narrative to Film Adaptation: “Sleeping Beauty” and “Maleficent” – A Study in Comparative Literature

Cited by 2 publications

References 1 publication

The cultivation system of cross-media narrative ability of scriptwriter talent based on cluster model

The cultivation system of cross-media narrative ability of scriptwriter talent based on cluster model

Maleficent As an Affectionate Fey in Disney’s 2019 Maleficent: Mistress of Evil

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