Table of Contents
This is an introduction.
Aim of Research
Careful examination of a text.
The art of capturing images for films
Topics
Composition
Establishing
Face-off
Resolution
Pastiche
In summary
First of all we’d like to thank our Literature professors for providing valuable insights and inspiration on how to approach Shaun of the Dead.
Ms. Teo Hsinfern was a great mentor and helped us to find the literary legitimacy of Shaun of the Dead. We want to also thank Ron, one of our students, for giving us valuable advice.
IntroductionShaun of the Death is a comedy movie that Edgar Wright directed in 2004. Shaun, a man, is the protagonist of the film. He must survive a zombie plague. The film’s clever plot and gut-busting humour have made it a cult favourite since its release. This ‘entertainment factor’ of Shaun of the Dead has placed in firmly in the category of films that are not serious enough to be considered a work of literature.Traditionally, literature has been scoped as the canonical works of authors, as seen in Bloom’s ‘The Western Canon’, published 1994. The list included 25 literary authors, including Chaucer, Austen, Shakespeare, and Austen. Literature only includes established texts that were written by literary luminaries. They exclude works by any other authors, no matter how literary, from being considered literature. (Geisel, T.S. 2005)
Our Research Goal: To prove that the film is literary, we will conduct our research. Shakespearean plays, writings and poems have been considered literature (Erne L 2013). However, this doesn’t extend to other areas of film (Anne Bartsch (2012)), where viewers prioritize immediate emotional gratification over appreciation for a film’s works. We will prove that film can still be considered literature if it exhibits the essentialist qualities of literature.
Similar topics have been the subject of debates, including discussions about whether film can be considered literature. Matthew Brett Vaden claims that film encourages viewers explore the world. Viewers feel the presence of film’s power and presence because they see into a secondary universe that is both very real and mysterious. Through close examination of Shaun of the Dead’s cinematography as well its narrative elements and stylistic language (diction), we will establish whether Shaun of the Dead can truly be called literary.
Because we believe they are the most controversial and would make our argument more persuasive, we chose to focus on the third, fourth, and fifth essentialist literary traits. These two traits are also taken to be.
Shaun of the Dead was chosen for its ability to showcase the genius of Edgar Wright. Even though Wright’s techniques are impressive, many still consider Wright’s work entertaining and not literary. This study aims to bring Edgar Wright the attention he deserves.
We intend to analyze the essentialist qualities of Shaun of the Dead. This will be supported by evidence from the film’s themes and the character development.
Our project explores the literary nature of Shaun of the Dead. We define explicitly that Shaun of the Dead has inherent literary characteristics as a result of the five essentialist literary qualities (Culler 2000).
Literature must possess language proficiency and show its intelligence with manipulation of words as the first essential trait.
It would be interpreted as if the plot and elements of the story are fictional and should not be taken to mean they are historically correct or true.
Literature must convey universal concepts and themes that transcend and reflect human nature, such as love, hate and life.
Purposiveness can be defined as the art and science of creating literature. In other words, the creator uses language in specific ways. Literature is not a text with a specific purpose. In other words, propaganda is produced with an ulterior motive (Jowett G. & O.Donnell,V. 2018). Literature instead allows readers the freedom to read it and draw their individual conclusions.
Intertextuality is the intentional similarity between works of literature. This alters the viewer’s perspective, based on one’s knowledge. Intertextuality can include literary devices like quotations, allusions and pastiche (Genette G. 2001; Hallo, William W. 2010.
Close reading”Much attention is given to intertextuality in postmodern literature studies. It refers to the relationship of one text (e.g., a novel) and another. Or one text within the interwoven web of literary history. Critics view this as a sign that postmodernism is reliant on clichés and lacks originality. Intertextuality is a reference or parallel to other literary works, an extended discussion on a work, and the adoption of one style. This can often be found in references in postmodern literature to fairy tales (e.g., Donald Barthelme’s works, Margaret Atwood’s and many others) or popular genres like science-fiction and detective fiction. Jorge Luis Borges wrote “Pierre Menard Author of the Quixote”, a story about Don Quixote that contains significant references. The story also shows intertextuality through its references to Medieval romances. Postmodernists often refer to Don Quixote, such as Kathy Acker’s novel Don Quixote. John Barth’s The Sot-Weed Factor focuses on Ebenezer Cooke’s same-named poem. This is another example postmodernism uses of intertextuality. Intertextuality can often be more complex than just a reference to another text. Robert Coover’s Pinocchio In Venice, for instance, links Pinocchio with Thomas Mann’s Death at Venice. Umberto Eco’s The Name of the Rose, which is also a detective story, refers to Borges and Arthur Conan Doyle.
Shaun of the Dead can benefit from the Post-Modernist concept of intertextuality, pastiche.
Intertextuality is evident in Shaun of the Dead’s many references to other films. Day of the Dead’s zombie film features a walking zombie. Shaun of the Dead’s opening scene features Shaun of the Dead stepping into the frame of the film after waking. Foree Electric is Shaun’s workplace before the zombie apocalypse. This clearly refers to Ken Foree, who was also a star in Dawn of the Dead. Finally, Ed exclaims that the zombie epidemic is about to begin to Shaun’s family. This quote refers to a line in Night of the Living Dead, George Romero’s seminal movie about the zombies.
CinematographyAccording to “A Film Experience”, film can be analysed through 7 methods. Analyse frame, light and color, the lens and texture, movement, texture as well as establishing and POV. Cross-referencing to “Corrigan White” reinforces the “Foregrounding Of Language” characteristic. A film’s mise en scene is able to convey themes and messages. You can identify any references to literature (i.e. Intertextuality and, furthermore, the postmodern pastiche can be identified to identify references to other literature.
ThemesPeter Bern defined what themes humanistic literature should be expressing in his seminal piece “Theory before Theory”. His main topic is liberal humanism. However, this is not the focus of our study. We will concentrate on the general definition derived from the tenets: Literature should emphasize tensions, paradoxes, and other phenomena that are important and timeless to human nature. They must transcend any synchronic or diachronic limitations.
StructureShaun follows the film’s three-act structure. It consists of a set-up followed by a confrontation that ends in a resolution. (Moura G.2014) Each act has a central plot point that leads to a change in one or both of the characters. The film’s structure, Shaun of the Dead, is used throughout to bring out the themes of the film.
SetupAct I is about Shaun’s introduction to Liz and their struggle for love. The two of them are openly told that they want to be together. However, due to Shaun’s indecisiveness and insecurity, their relationship has remained largely unchanged. Act I sets the tone for the show’s themes, such as nostalgia versus growing up. Act I establishes Shaun’s conformity to society.
ConfrontationAct II introduces Shaun to the main antagonists in the movie: the Zombies. This forces Shaun to face the problems in their relationships. The main characters find shelter in the Winchester Pub to evade the zombies. This slows down action and sets the scene for the drama that will fuel the movie. As Shaun makes the decision to grow up and become a man, he is forced to make the difficult choice of losing his mother and all that she has done for him. David questions Shaun’s commitment to maturing and further questions him. The final attack on Winchester is then launched by the zombies. Shaun and his buddies are slowly taken out, even though Shaun is beginning to see the advantages of growing up.
Resolution Act 3 Shaun and Ed are held captive in the basement by the Winchester. Shaun and Liz come to terms not only with their mortality but also with Shaun’s maturity. Shaun is saved when the army arrives as a deus-ex-machina. Wright wraps up his story by concluding it. He shows how Shaun & Liz have worked out their differences, repaired their relationship and how Ed is Shaun’s best Friend.
Burke said that close reading is “a thoughtful, critical, and thoughtful analysis of a book that focuses specifically on key details or patterns to understand the text’s form. Craft, meanings, and forms.” Our study focuses on Shaun of the Dead. The specific way this can happen in our study is the linking of macro-analysis and micro-meaning. This means that the breaking down of film is linked to Shaun of the Dead’s humanistic meaning.
PasticheA pastiche can be described as “a creative project that imitates a different author or genre.” In Shaun of the Dead, Edgar Wright clearly reflects on George A. Romero’s work. Romero is widely believed to have been the first zombie filmmaker. Wright’s bagayyyyy from Romero can even been seen in the title. Shaun of the Dead serves as an allusion to Romero’s Dawn of the Dead.
Conclusion: Shaun of the Dead’s entertainment-oriented film might limit our project. Readings that go into depth about Shaun of the Dead’s literary aspects are difficult to find. They tend to be more focused on the plot than the literary merits. It is therefore necessary to broaden our perspective and use broader readings. This may not apply to Shaun of the Dead in the same way that scholarly readings might. To make up for the absence of literature, we will need to do more analysis and then find ways to connect these general understandings with the context of the film.
Future studies might include studying The Room, one of the most controversial films ever made. We may also consider making The Room a literary work. The controversial movie, The Room will prove that any film, no matter its rating or intentions, can and may possibly be considered literary according the essentialist traits. This will help to justify that the division between literature and entertainment is false. We might also decide to explore the Cornetto Trilogy’s Edgar Wright work. By exploring these concepts, we may increase public awareness of the intricateness and genius of filmmaking.
