Why "Tangled" (Film) is Post-modern
Studies of Modern Media are required to be comprehensive in their analysis of the varying main approaches used within the field. Through inclusion, these studies require individualized active engagement, with regard to research and analysis. They are crucial in enabling students improve their understanding on the prevailing contexts under which modern media exists and functions. Consequently, as provided in the text – Media Studies: Texts, Production, and Contexts (2nd Ed.) – by Long & Wall (2012), current contexts require individuals to actively analyze with the prevailing forms of existing media. This should be at both the intellectual and practical levels, with extra focus on understanding the emergence of new media. With regard to the film industry, as a form of modern media, it is vital for students to possess greater understanding of its varying forms, traits and inclination. This is in terms of film structure/ characteristics, its contextual nature, the message/ ideals being communicated, target audiences, authorship, conventions and rhetoric devices, amongst other vital areas of focus.
The critical areas to focus on, with regard to the aforementioned, would be: perspectives that are broadly-ranged, a firm foundation, and an individualized strong sense of conception. The aforementioned input is not only important to students of media studies, but also those in cultural, film and communication studies (Watson, 2008). The film industry continues growing stronger each and every year, especially with the constant production of good films, documentaries and musicals/ theatre pieces. Those appealing to a vast audience base are structurally different, from the norm, expressing differing opinions that are captivating to general viewership. The film – “Tangled” (2010) – by Walt Disney Studios, is no exception, in terms of production, ideals and perspectives portrayed, as well as background structuring and exhibition. With media studies necessitating individualized, active participation, there is a greater need to reflect on the dynamic nature of the prevailing media environment.
It is important to understand the crucial aspects of the film, with regard to the issues raised in the previous paragraph. This is inclusive of the existing meaning, the target audience, film background/ histography, film production, and the associated social contexts. The above are useful in the examination of the film’s approach, in terms of production. Through critical focus and analysis, one is able to conceptualize the film from a global stand/ point of view. The audiences targeted, are inclusive not only children/ the young, but also young adults and grown-ups as well (Long & Wall, 2012, p. 403). Pertinent to this paper, is the analysis of the film, with regard to its portrayal of post-modernist ideals, contextual concepts and means of production. As an American film, under the genre of computer-animated, musical fantasy comedy film-category, it was produced and released by Walt Disney Animation Studios and Pictures respectively. It is based loosely, on the ‘Rapunzel’ (German) fairy tale, and therefore a collection of folk tales.
The making of the film, had some sought of controversy, with regard to its title change, not once but twice, from Rapunzel Unbraided, to Rapunzel and finally its final title – Tangled. This was informed by the fact that a previous animated production, though well received by critics, had not been successful as expected. This was due to the belief that it had not attracted both genders in equal measure. Thus, in order to market it to all genders, the name ‘Tangled’ was finally settled upon. Its authorship was post-modernist, with regard to maintaining the storyline, while enhancing the means of communication, from the written word, into an animated, sound-enhanced narrative (Long & Wall, 2012, p. 408). With regard to media studies, the film’s ultimate production is post-modern in various ways, from not only its authorship, but also as a film genre, utilizing the conventions of sound and sight. This is as opposed to the folk tales, which were written and pictorial in nature.
Through classification as a computer-animated, musical fantasy comedy (film genre), it is primarily classified into the genre of picture animation films, as opposed to the traditional genre of fairytales/ folklores. The blend of traditional animation and computer generated imagery (CGI), exemplifies post-modernist ideals. This is coupled with the utility of non-photorealistic rendering, which creates a painting’s impression. The musical composition throughout the film provides further instance of the post-modern nature of the film, crucial in creating the prevailing spectacle. Its use of technological advancements, by way of relying on a variety computerized input, enabled the film scored a first. This is in terms of its release, not only in 2D version, but also in 3 Dimensional viewership capacity.
This alone shows the decline of invariable film production, where producers relied more on the current prevailing contexts, ideals and perspectives in their various productions. Through deconstruction of the way in which people perceive traditional fairy tales, the film through varied input and enhancement, was able to aptly apply post-modernist thoughts, ideals, communication and functionality (Long & Wall, 2012, p. 415).
The impacts of "Tangled" (film) on its audience.
Regarding culture, art and politics, the film went far in pushing the existing boundaries, as regards animated movie production. Through its experimental/ innovative nature, the film utilized modern techniques towards producing a film identifiable by various audiences in the current society. Against the prevailing cultural norm, the film provides a case study of the prevailing social contexts, where social reforms are necessary. The film’s production showcases this, especially in regard to the filming cost expenditure, utility of computerized capabilities and general viewership targeted. This is as opposed to prior production of animated films, which were targeted to audiences, according to their gender and/ or social inclination. It is vital to highlight the film’s eventual portrayal of case scenarios, which go against the established mainstream cultural values present, with socio-political implications. This is best portrayed through its ideals of true art, by way of production techniques, quality (3D CS), production time frame and cost expenses.
The viewership rates are high, with audiences being wowed by its various characteristics, blend of ideals and overall communication. This was proved when the film was nominated for several awards, inclusive of the prestigious Best Original Song award – the 83rd Academy Awards. The change of title, from the original tale’s name – Rapunzel, to Tangled, was viewed in different ways, providing instances of modernist perspective. This perspective was pegged on the need to retain the tale’s originality, especially from its Title. Post-modernity, was exhibited through the greater viewership targeted, as a result of the film’s greater utility of post-modernist perspectives and capacity (Theobald, 2004). Intellectual input, both criticism and accolade, with reference to media studies, essentially contributes to the criticism that exists, with the aforementioned film being no exception. This is perceived by way of varying instances of criticism i.e. on the name/ title change controversy. It was viewed as being biased, with Disney being accused of sexism, as a way of evading the highlighting of the princess alone.
Considered by critics as being part of gender discrimination, it was viewed as affecting and thereby influencing children (the main target audience) negatively. Another aspect with regard to the above was that the title change was but part of Disney’s marketing strategy, which its directors strongly opposed. They provided the reason for change to be greater inclusion of the other characters and especially so, Flynn, whose life journey was intertwined with that of Rapunzel throughout the film. The aspect of modernism was showcased through the use of animated films, to tell a specific storyline, in the modern arena (Long & Wall, 2012, p. 400). The film industry is more inclined towards realistic filmmaking, even in cases where reality is fused with virtual reality, as best shown in the film trilology, ‘The Matrix.’ Being essentially about order, the film provides a contextual treatment of the prevailing circumstances. From instances of disorder/ chaos, charting through various difficulties, and finally resulting in an ordered case scenario.
This is best highlighted by Rapunzel’s eventual re-union with her parents and later marriage to Flynn. Audiences are hence informed of the need to constantly strive towards their goals, despite the prevailing constraints. It further showcases that individual action should not be constrained by a given form of thought, or way of doing things, but rather should be influenced by the prevailing contexts, which necessitate tangible means of doing things according to the available means, resources and capacity. Through showcasing a blend of traditional input, augmented by modern technological development/ advancements, audiences are educated on the need to adapt their existing cultural inclinations and ways of doing things, within the prevailing contexts in society, which are majorly post-modernist. While traditions are crucial in the lives of various populations, it is the means by which they are able to adapt, utilize and function in current social contexts, which provides them with a means of advancement/ goal attainment (Hayward, 2013).
What is "Tangled" (film) trying to say about the world we live in and how might audiences respond and interpret it.
The film, being mostly post-modern, was enriched through its blend of modern cultural background/ foundation, exhibiting modernist traits as a way of identifying with the real world. This therefore explains the reason of a ‘painting-like background and characteristic; subject-line and theme and character narration. By contrast, advancements currently available in contemporary society necessitated the input of post-modernist ideals. This aimed at depicting the prevailing social contexts, best exemplifying current post-modernity. It was produced in 2D and also 3D, thereby providing its viewers with options on their preferences. Artistically, the official cover picture provides a blend of rhetoric devices, with Maximus holding a sword by his mouth, Flynn with a pan, and Rapunzel with her long hair. Majorly so, this provides audiences with a pre-description of what entails the actual film, especially on the three characters’ traits, perceptions, life adventures and means of doing things/ going about their lives.
Regarding Capital, the $260 million benchmark, in terms of cost expenditures, distinguishes this film from others, making it the most expensive animation film production, and 2nd most expensive film of all time. This aspect reaffirms the post-modernist view that culturally inherent ideals and ways of doing things can be deconstructed and/ or remodeled. With respect to the film, this is showcased though utility of modern technology and techniques, towards enhancing the artistic value of hand-drawn narratives (Watson, 2008). Cultural boundaries have been eradicated as depicted in the film, by way of portrayal of various cultural dimensions, which are unassociated in real life contexts. An example would be the floating lanterns, which are customarily associated with the Asian culture, when celebrating the death or anniversary of a lost loved one. The film expresses the need for greater individual independence, rights and freedoms, as well as the acceptable ways of initiating such a mindset under prevailing circumstances.
The impact of the film on its target audience therefore showcases a form of universality, where humans co-exist with each other, the cultural backgrounds notwithstanding. Audience response may be varied, with the younger generations viewing it as right means of communicating and disseminating information through channels and ways in which they are accustomed to. The film’s unique blend of reality and its simulated version, through varied utility of technological input provides target audiences with an exciting experience (Long & Wall, 2012, p. 410).What is perceived as real, and that which is fiction are blended well together, such that there exists no clear distinction. In the film’s case, this is achieved by way of utilizing a combination of artificial intelligence and human input, thereby fusing virtual perception and reality. As an aspect of post-modernism, it does affect its target audience (mainly children) in specific ways, as it infuses a perception of reality, but as displayed in a virtual world. This is through the film’s generation of live characters, with no reality or origin in the real world.
The film showcases differing perspectives, as it traces its way from time before Rapunzel’s birth, to the demise of Gothel, and the eventual marriage of Flynn to the long lost princess. These are utilized with the aim of targeting the diverse nature of film target audiences, not necessarily concentrating on young ones (children). Through a deconstruction of perceived reality, the film was able to play around with perceived meaning, as influenced by the Reception theory. Here, it displays varying perspectives, with regard to message/ meaning conveyance, through a blend of reality and virtual creation. Issues touched on include: socio-cultural contexts, political dimensions, and the aspect of magic, as well as the old impression of good versus evil. There is a rejection of existing boundaries, with regard to the low and high forms of art; genre distinctions that are rigid, while conversely emphasizing irony, playfulness and parody (Theobald, 2004). This is further exemplified by the inherent nature of the film, which was a remake of the original Rapunzel collection of folk tales.
Description of how "Tangled" (film) is contributing to the advancement of the fairytale genre in contemporary media.
With the great input showcased with regard to this film, in addition to the resulting cinematic enhancement, fairy tales are not about to be discarded into the annals of history. This is majorly rooted in the current society’s ability to reinvent itself, rejuvenating the existing variety of cultural ways of lives/ traditions, ideals and perspectives. This is towards enhancing not only communication, but the overall way of conduct and life.
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Reference
Hayward, S. (2013). Cinema Studies: The Key Concepts (4th Ed.). London: Routledge.
Long, P. & Wall, T. (2012). Media Studies: Texts, Production, Context (2nd Ed.). Italy: Pearson Education, Ltd.
Theobald, J. (2004) The Media and the Making of History. Aldershot: Ashgate Publishers.
Watson, J. (2008). Media Communication: An Introduction to Theory and Process (3rd Ed.). Basingstoke and New York: Palgrave Macmillan.
Conli, R, Lasseter, J, & Keane (Producers). G. Howard, B. & Greno, N. (Directors). (2010, November, 14/24). TANGLED. [Animated/ Fairy Tale Film]. United States. Walt Disney Pictures.
