YR 12 ENG EXT Genre Study: Revenge Tragedy

Text Summary Name: Medea Author/Creator: Euripides Medium: Play/Drama Purpose: A myth, written for a religious festival. Contains comments on society (especially the role of
women). Conjecture over the feminist tones or the warning to men against women.

Audience: Intended for the audience present at the religious festivals therefore ancients of all classes Context:
Historical First produced in 431 BC. Audience would have been vaguely aware of th genrsl parmetres and many of the specifics. Cultural influenced/informed by Ancient Greek theatre, especially AG tragedy - reflected in structure, use of the chorus, placing all violence off stage etc. Social Audience aware of the social setiings, but were challenged by the ole of a female avenge and an active chorus, etc

Values:
the sanctity of oaths

Oaths were v.v.v.v.v.v. important. Binding. The breaking of the oath gves Medea a very good reason for revenge however as the oath itself was foreign there is a moral and ethical dilemma as to whether it is truly applicable role of women (gender roles within the play)

Medea, Chorus, New Bride. Medea switches between female and male embodiments, when she doubts whether to kill her children she is ultimately female. However when discussing revenge and encountering Jason she is of the male embodiment. Chorus active role of women in society. They symphathise with Medea. But dont want her to kill her children. The New Bride, is very typical of an ancient Grekk women and princess. role of the supernatural

Gods religious cnnatations of the period. Medea is a demi-god Lots of oaths to gods Apollos chariot saves Medea at the conclusion of the play

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foreigners

There is the idea that Ancients should be hospitable to foreigners. However if there are any issues one always looked to the foreigners as the problem or cause. Her crimes also makes it less negative for Greeks as she was a foreinger. merits of revenge

Dependant on how you view the oath. If you think it okay then it was justafable. If not, it obviously wanst. And Jason wsa completely in the societal taboo to take another wife the validity of retributive punishment

She escaped punishmentchariot..gods, etc the nature of justice itself

Hubris was a complicayed matterand Medea can be seen to be defending hershowever she is a foreigner so doesthat concept apply. impact of revenge on society and the individual

Served as a warning against women and revenege

Generic Conventions:
- Quest for vengeance because of a real crime done: sees Jasons abandonment as a betrayal of his oath to her. However, importance of context here cultural assumptions of Greeks about barbarians etc. - Situation not within heros control: Medea was not even informed on her husbands re-marriage until after the fact, she has been left, she has had no choice in the situation. - Disguise: disguises her womanly emotional reactions and presents a faade of calm and logic thus taking on manly characteristics. I realized the full extent of my folly and the futility of my anger I have been the foolish one. - Victims Knowledge: adds emotional impact (unusually creates sympathy for victim Jason, and horror of avenger Medea) M: O my sons, how your fathers weakness caused your deaths! J: What? You decided to kill them because I loved another? - Violent/Gruesome: Although practicalities of AG stage discouraged the direct presentation of violence, the deaths of Creon & his daughter and the deaths of Medeas children are incorporated into the play through

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messengers and dialogue originating off stage. Crucial because violence creates horror of Medeas actions, which strengthens the moral about treatment of women in society. - Madness: Conjecture as it was dependant as to whether she was mad or not. Reference to Eno indicates that she might be mad. However she is cool, calm, collected and more importantly logic. - Righteous Hero: To begin with sympathy is created (through the chorus, and her logic)for the wronged Medea, she is intelligent, and loving; however, as events unfold (like in other RTs) her moral character is challenged as her jealousy and pride undo her. - Ghost/Supernatural: Medea exists on a chariot, her salvation from the gods. Medea is a demi-god. King/Duke: King Creon can be seen to be responsible for the rottenness in Medeas situation (which is her being left abandoned) just as conventionally, the leader of a society is often responsible for the rottenness of society. - Societal comment: Euripides uses Medea as a vessel through which to convey his political and social ideas. He particularly focuses on the role of women within society. - Melodrama: Oh, I am wretched, pity me for my sufferings! Oh, if only I could die! Creation of drama, tension etc. - Emotive language: Used in order to create drama and emotional involvement. But, in the case of Medea, its use if fitting to the views of women in AG society (as emotional). Oh, I am wretched, pity me for my sufferings! Oh, if only I could die! - Natural Order: Medea is not concerned with the Christian idea of the Natural Order because of its context in AG, this was not a commonly held social value at this time. However there is the idea of hubris. - Tragic fall: Medea does not die as a consequence of her quest for revenge; in fact she is honored with the direct intervention of the gods. -Realization: there is no realization that man cannot manipulate fate; in fact Medea practically does, with her calling on the gods and their deliverance of escape.

My Spiel (genre and its evolution):

- The evolution of the Revenge Tragedy genre is evident in considering Medeas demonstration of a number of the generic conventions and values. - It is evident that the play is one of the pre-cursors to the Revenge Tragedy genre. - However, Medea can not be considered to truly be a part of the genre as genre is a reflection of audience expectations and assumptions about a certain text and as such a construct of social and cultural context.

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- Medea was written hundreds of years before the cultural expectations of the conventions of revenge tragedy developed and therefore can not be said to belong to the genre. - its an example of the idea that any one text can be a member of more than one genre, (especially depending on changing contexts of audiences different audiences see different texts to be a part of different genres with hindsight modern audiences can see how it COULD be a revenge tragedy even though it wasnt written as one.) - Context of creator and timechanged the genre of Greek drama that it was created insubverted the conventions.

Text Summary Name: The Revengers Tragedy Author/Creator: Tourneur Medium: Play/Drama Year of release: 1607 Context:
Historical Jacobean theatre evolved at a time of incredible political uncertainty. The rule of James I was incredibly oppressive and full of discontent. It is important to remember that his reign directly followed that of Elizabeth I, much of the religious and political instability (as shown thought the Reformation and numerous political plots) was inherited and this climate was reflected in the literature of the time. Authority was in a transitional phase during this historical period; the traditional chivalric code of values was being undermined by that of civil control and furthermore the boundaries of civil authority and ecclesiastical authority were indistinguishable The period also saw a shift in the structuring of society and a break away from the traditional three houses of the Elizabethan age, this can be linked to the thematic concern of natural order. With the decline in wealth and prestige, the boundaries that separated the titled from the gentry began to erode with a commensurate decline in suitable distinction and respect the decline in social hierarchies hinted at bigger problems in Gods creation- an instability in nature and the universe an overarching decay. A generall corruption hath overgrown the vertues of this latter time, and this world hath become a brothel house of sinne Barnabe Rich, 1614 Cultural, The literature of the period reflects its context. There is a genera air of pessimism, cynicism and despair amongst the writings (particularly Tragedies) and little faith in the restoration of balance.

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an infusion of satire, intellectual speculation and moral aphorisms. The result was a dramatic treatment of the special shape in which evil revealed itself in their age: the phenomenon of state power and the debasement of human values. Lever (his characterization of Jacobean RT) It is also important to note that the authors of the time were heavily influenced (i.e. censored) by the church and the nobility (which practically was the church). In order to be granted a playwrights license an author had to support official policy; thus the need for Italians and non English settings to evade persecution.

Values:
The Revengers Tragedy represents a trichotomy of values (especially on revenge); Christian religious ones, the archaic chivalry/feudal code, and that of emerging civil law. The values and attitudes concerning revenge within the text mirror the conflicting social value codes (trichotomy) of the time. It is as a result of this that revenge is viewed in a two sided way; both as a break from the natural order and civil crime, and as a necessary measure to uphold justice and honour amidst a failing court. It was during the Renaissance that revenge became an altered and more ambivalent act. The emerging influences of Senecan philosophy (and literature) as well as Stoicism and Classicism led to a condemnation of revenge. Compassion was preached as it was the act of the reasonable man, and thus and act of anger was damnable and abhorrent That which is past is gone and irrevocable, and wise men have enough to do with things present and to come. Bacon Natural order Elizabethan revenge tragedies especially comment on the Natural Order and balance of life. Whilst the hero feel she must exact revenge, it is clear that this is unnecessary and that God will restore order (Stoicism). Revenge is upsetting natural order as it usurps gods role a sin Whilst this optimism in the certainty of fate and Divine influence was certain in the Elizabethan time, Jacobean plays often show a more pessimistic view of the disruption of the natural order, reflecting the lack of religious certainty and the lack of justice. Merits of revenge In line with the Stoic philosophy of pacifism, that is- it is beyond the correct role of humans to judge, only the divine can pronounce judgment. In taking revenge, a man is but even with his enemy; but in passing it over, he is superior Bacon Validity of retributive punishment By Tourneur ensuring Vindice does not escape punishment he is pronouncing retributive punishment as illegitimate (though necessary as it may be). However thought must also be given to the fact that the civil system of punishing criminals is also retributive punishment we have a slight conundrum here!! This can be viewed as Tourneur condemning both individual anarchy and the ineffective civil system. a man that studieth revenge keeps his own wounds green; which otherwise would heal and do well Bacon

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vindictive persons live the life of witches; who, as they are mischievous, so end they unfortunate Bacon Impact of revenge on society and the individual Senecan view that violence on stage defeated anger in audience; watching shocking scenes in theatre allows people to prevent extreme emotions in life Violence on stage allowed intellectual satisfaction and disenchanted repugnance

Purpose:
Tourneur had a dual purpose in writing The Revengers Tragedy. Within its time it served as both a satirical critique of society (specifically the corrupt court of James I) [OMG. Major link Gloriana in play, is dead, is being avenged one of Elizabeth Is many pseudonyms was Gloriana, hence very, very strong link to political commentary] and as a form of entertainment. It could also be argued that through Tourneurs satire of the court he attempted to teach a didactic message on morality

Audience: Jacobean theatric audiences both nobility and peasantry. Generic Conventions:
Plot Quest for vengeance because of a real crime Vindice is seeking to avenge his dead fiance Gloriana, whom the Duke attempted to rape and then poisoned. His father was also killed by the Duke Also secondary revenges of - Antonio upon Junior, for the rape of his Wife - Spurio upin the Duke, for his illegitament stuats - Duchess upon the Duke, for not pardoning Junior immediately - Lussurioso upon Piato(Vindice), for misleading him to commit treason upon the Duke - Vindice upon Lussurioso, for slurring Castiza - Supervacuo and Ambitioso upon ???, for ordering the brothers death (they did it)
Situation not within heros control Vindice is isolated from the royal court. He has no access to the court except via Hippolito his brother. Even once he gains access to the Duke his rank acts as a barrier between him and justice, the duke will not be punished fro his crimes as he is above the law. Violent/Gruesome: Violence is central to TRT it is either being planned, wished for or carried out at any instance during the plot. At least 10 people are dead, or about to be, by the conclusion of the play. An instance of gruesomeness is the murder of the Dukes poisoning with its accompanying commentary. Nay. faith, well have you hushed now with thy dagger Nail down his tongue let our two other hands tear up his lids And make his eyes like comets shine through blood.- Act 3, Sc 5 Also the masque at the conclusion of the play is a farce at the violence within tragedies.

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Disguise: Vindice is forced to disguise himself as Piato in order to achieve his revenge.
Victims Knowledge: Tourneurs text definitely fulfills this criteria. In a dramatic revelation just prior to the Dukes death Vindice reveals himself and the Duke is made aware of the appropriateness of the revenge. D: is it thou villain? Nay thenV: tis I, tis Vindice, tis I! Thus a complete revenge is enacted. Madness: Vindices obsession with avenging his love leads to his fall. Example: dressing up dead skull.

Tragic Fall: As the play precedes the extent of Vindices madness is revealed. He is caught by the paradoxical nature of revenge. In completing his act he becomes debased and no better than those he so despised. Am I far enough from myself?- Vindice to Hippolito Oh- now let me burst, Ive eaten noble poison. Vindices realisation of his corruption Tis time to die when we ourselves are foes Vindice at conclusion How strangely does himself work undo him. Hippolito about VIndice
Realization: At the conclusion of the play Vindice is made aware of his moral decay. His boasting of his deeds betrays him in the end and he sees that even he is not above repercussions. Vindices obsession ultimately corrupts his nature so that the audience witnesses his transformation into his namesake Vindictive. Am I far enough from myself?- Vindice to Hippolito

Oh- now let me burst, Ive eaten noble poison. Vindices realisation of his corruption Tis time to die when we ourselves are foes. Vindice at conclusion If non disclose em, they themselves revel em. Vindice? Characters
Righteous Hero: At first Vindice appears the righteous hero. He is caught up in a situation n which is both unprovoked and out of his control, however it is with his killing of the Duke and completion of revenge that the audiences view of him changes. He becomes a morally depraved, violent character who is consumed by the obsession he has nurtured.

Ghost/Supernatural: There are subtle reference to the supernatural through witchcraft and magic the poor benefit of a bewitching minute however this imagery is used to link to the concept of disturbed natural order. Ghost of Gloriana??

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Themes Societal comment: As stated in the purpose, The Revengers Tragedy sought to reveal the corrupt court system and the obstruction of justice within the reign of James I. Theres more private common shadowing vice Than those who are known by their names and price. Banquets, ease and laughter can make great men as greatness goes by clay. The nobler shes, the baser is she grown. A fellow of the worlds condition hither that did corrupt all that was good in thee.
Honor: Vindice is reclaiming Glorianas honor. Antonios wife committed suicide for her honor. Catizas honor is attempted to be sullied by Lussurioso Spurio and the Duchesss adultery destroys the Dukes honor by making him cuckold

Natural order: As with the Shakespearean theme, natural order is the belief that mans interference is unnecessary as harmony will be reestablished. This is shown as Vindices actions actually hinder the course of justice, for example by telling Lussurioso about the affair he actually saves him from Spurios revenge. Furthermore, Vindice need not have killed Lussurioso as Supervacuo and Ambitioso were about to do it. Not only this but if the natural order is disturbed the individuals involved will be revealed, partially by their own doing. This is evidenced by Vindices revelation at the conclusion and Lussuriosos hiring of Vindice. Tourneur also reminds the audience of Gods presence thorught the use of thunder, lightening and comets. Techniques Melodrama: Melodrama is used to great effect in The Revengers Tragedy, in particular through the use of emotive language which is high in graphic descriptions and imagery. My teeth are eaten out! Ill begin to stick thy soul with ulcers. Also the use of apostrophe, such as the continual Oh! adds an overdramatic feel to the play. Tourneur has also employed soliloquies to reveal the characters inner thought and verbalise the tension and conflict on an individual level not just a broader social level.

Dramatic irony/Humor

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Humor and farce are very important to The Revengers Tragedy. Tourneur plays no pretence at assuming realism within his work and characters in the play often remark about theatric techniques such as asides, and stage thunder. Why dost walk aside? Is there no thunder left?...[Thunder] There it goes. Language techniques such as puns as also employed such as, He leans well; take heed you wake him not brother. About the Dukes corpse She has a grave look about her. About Glorianas skull The audience is also exposed to much dramatic irony within the play. For example the introduction of Vindice and Lussurioso leads to the following lines, L: Thou shouldst be valiant and kill thine enemies. V: Thats my hope, my Lord

My Spiel (genre and its evolution):

Literature is often described as mirroring the times in which it was produced, this is certainty true of Tourneurs play The Revengers Tragedy. However it is not just individual texts that are influenced by their respective contexts. Due to genre exhibiting an intertextual concept thought their fluid relationship of texts and interpreters the boundaries and characteristics of Genres are often characterized by the works of a time where congruent political, social, and economic factors exist.

Text Summary Name High Noon: Author/Creator: Zinnemann Medium: Film Year of release: 1952 Purpose:
It has been suggested that High Noon was a reflection of the politics of the filmmakers and that it is a parable about a man who stands alone to defend his moral principles in the McCarthy era. The townsfolk of Hadleyville, who abandon Kane and refuse to help him confront Miller, are seen as the powerless members of mass society, afraid to stand up for their own or others civil rights Wilshire High noon has been described (by one of its creators) as a picture about conscience Zinnemann Screenwriter Carl Foreman, a victim of the McCarthy witch hunt in Hollywood professed to see his script as an allegory of his own situation [a dramatization of current events] Fred Zinnemann denied this

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interpretation, considering it the story of a man driven to act in accordance with his own conscience, while conceding that the town in which the action takes place is a symbol of democracy gone soft. Hanson

Context:
Under the impetus of Senator Joseph McCarthy and of right-wing organizations like Red Channels, blacklisting had became commonplace in [the USA] in the early 1950s. If someone was accused of being a Communist friends grew distant, acquaintances crossed the street rather than having to be seen greeting him. Colleagues proclaimed their willingness to defend him but refrained from doing so because, you understand, they had families to support To defend an accused was to become an accused person in turn. Hanson In the movie, the hero is a marshal of a Southwestern town who faces a showdown with a returning killer whom he had brought to justice. Since all the townspeople are gripped with fear, he will have to stand alone. People pull away from the marshal because they want to live another day, just as people pulled away from alleged or former Communists for fear of being thought guilty by association. When released in 1952, the movie was seen as an allegory about the evils of McCarthyism. High Noon dramatized the predicament of the victims of the accusations. It showed the isolation that overtook people who tried to do what they saw to be the right thing (i.e., accused of being Communists, they would not inform on others) even if that meant standing alone. In the strained climate of the times, that gesture of Kane's--throwing away his badge--was interpreted by some as an insult to Federal authority and led to accusations of subversion. Hanson

Values:
The evils consequent of a climate of fear and mistrust and of people not being willing to help each other. [LINK effect of context] The necessity and value of standing up for what is right in the face of adversity despite fear and intimidation. [LINK effect of context] merits of revenge seems to condemn it to an extent in that the avenger is unsuccessful in his attempts and it is the foiling of this attempt which provides the heros triumph. Also, the depiction of the avenger as the villain of the story suggests that revenge is looked upon badly by the creators of this text. the nature of justice itself the underlying cultural assumptions that justice is served/ is meant to be served by the justice/legal system and that the freeing of convicted criminals shows not their rehabilitation but a break down/inadequacy of the system. The film shows little faith in the legal system (exemplified in Judge Percy Mettrick and those up north who freed Miller)

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Capitalism as encouraging profit making above all else including honor/duty (exemplified in townspeople not wanting Kane to fight because it would be bad for tourism/business) film shows society and authority as preventing justice and morally correct actions LINK McCarthy when the authorities/system already set up fails you are morally obligated/duty bound to take justice into your own hands, to stand up for what's right (exemplified in Kanes actions)

Generic Conventions:
- Quest for vengeance: The quest for vengeance in this film is that of the villain. Miller is looking for revenge upon Kane (the hero) for putting him in jail. This is rather unconventional in that conventionally in Revenge Tragedy the hero is the avenger and said hero is seeking justice from those who have wronged him. This LINKS to purpose in that it is this portrayal of Miller as not in the right, and of his quest for vengeance as not entirely justified which holds symbolic importance for the creators societal critique/comment on McCarthyism. - Situation not within heros control: Miller is freed by those up North because of the flawed justice system exemplified in the scene in which Judge Percy Mettrick packs to leave while telling Kane: a similar thing happened about eight years ago in a town called Indian Falls. I escaped death only through the intercession of a lady of somewhat dubious reputation. Highlights flaws of justice system that cannot protect its enforcers. Judges leaving leaves Kane with no legal recourse to deal with Miller; thus he is forced to take justice into his own hands. - Violent/Gruesome: although violence (and the threat of violence) is apparent in the text, it is played down compared to Jacobean conventions (being influenced by Senecan views of the role of drama in catharsis). This seems largely due to the change in mode of production (LINK context, changing technologies etc) to film which allows for the much more realistic representation of violence and thus makes violence much more confronting and in your face for audiences. - Disguise: While not using disguise in the enactment of his revenge, Millers physical presence is disguised in that he is only physically present at the very end of the film. The contrasting of his (physical) absence from the film with his (emotional and psychological) importance in almost all of the action of the film is used to build suspense and dread right from the moment the stationmaster exclaims its terrible, its shocking after receiving word of Millers imminent arrival. This suspense is drawn out even further with Millers arrival; the audience sees only the back of his head as he alights from the train which increases further the tension of the scene. - Victims Knowledge: Right from the beginning, when the telegram about Millers freedom is received and Millers lackeys ride into town Kane knows that he is returning to Hadleyville to get his revenge. This knowledge of impending confrontation (emphasized throughout the film by the almost mythical status of Miller and the fear of the townspeople as well as the use of the clock motif to reinforce the impending ness of it) creates a sense of dread and anticipation in the film (emphasized further still by the lack of Millers physical presence). This seems particularly relevant when LINKED to understanding of the symbolism behind this text it is Kanes courage in staying put/standing up despite knowing the likely consequences which

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shows his true courage (and thus reflects the creators view of the courage of those who stood up to McCarthy despite the likely consequences.) - Madness: Miller, the avenger, is represented as mad/crazy which adds to the threat of the character returning to get his revenge upon Kane. Kane says: He was always wild and crazy. Hell probably make trouble. And Judge Mettrick reinforces this with: Hes crazy. - Tragic Fall: Millers fall is in no way tragic for the audience and is in fact source of some satisfaction as Kane has finally done his duty. This lack of tragic fall in the avenger is due to the fact that the roles of avenger and victim have been very much reversed in this text and the avenger is in fact the villain. The real tragic fall is that of the townspeople as Kane goes from one of them to another in asking for help and each and everyone (except for a young boy and a one eyed drunk) refuse him. This shows them as cowardly and without a sense of duty. The judge packing away the symbols of justice (the American flag and the scales of justice) symbolizes this fall of the town. - Righteous Hero: Kane is very much a righteous hero; he is a man of honor. This is apparent throughout the film; however, it is set up right from the beginning of the film when Kane, upon hearing about Millers return, says I think I ought to stay. It is also highlighted in the scene in which Kane fatefully decides to turn back to Hadleyville after leaving with Amy as he comments its no good. Ive got to go back and theyre making me run, Ive never run from anybody before. This LINKS to purpose as it is these qualities which make Kane an allegorical symbol for those who stand up against McCarthy. - Ghost/Supernatural: The lack of the supernatural in the film is reflective of (LINKS to) the film context and purpose in that it was very much written in keeping with expectations and conventions of the Western film which was immensely popular at the time of its creation. LINK to the changing popularity and thus the evolution of different genres. - King/Duke: Although not a king or a duke, Kane is of elevated status in the town in his role of Marshal. He is of elevated status also because he is respected for the job he has done in cleaning up the town. This is highlighted in the church/town meeting scene in which sure, we paid this man, and he was the best Marshall this town ever had and What this town owes Will Kane here, it can never pay with money and dont forget it. Hes the best Marshall we ever had are said of Kane. In this text, instead of meaning that the character has further to fall (as is conventional of revenge tragedy) Kanes nobleness is used to contrast the lack of nobility or bravery or selflessness, or moral fiber in the townspeople and thus highlight the tragic fall of the town. LINK to purpose in that Kanes elevated status and nobleness highlights the creators view on the nobleness and courage/honor of those who stood up to McCarthyism. - Honor: Conventionally, regaining honor is often the (or at least a) motivation behind the avengers actions. However, the film subverts this convention in that it is the victim of the revenge, who is depicted as the man of honor and the avenger (Miller), is seen as an evil criminal motivated by bitterness. Kane is honorable and bound by his sense of duty. This LINKS to purpose as it is this quality which makes Kane an allegorical symbol for those who stand up against McCarthy. - Natural order: The film focuses more on the justice system and civil order than the natural order (conventional of Jacobean Revenge Tragedy). At the end of the film, although the villain is vanquished, there is not the conventional sense of the world being put to rights. This is largely because of the fact that Kanes

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actions have revealed the true nature of the townspeople (their cowardice and selfishness) and there is unease as to the ultimate fate of the town, now that Kane (and the last vestiges of honor) have left the town. Also, the ineffective and flawed justice system has not been righted. This LINKS to the purpose of this text to highlight the politics of the time and the wrongs within American society at this time. - Melodrama and emotive language: Revenge Tragedy relies on suspense, dread, and atmosphere in order to entertain and engage its audiences. Conventionally, melodrama and dramatic language has been used in Revenge Tragedy in order to create this engagement. High Noon, due to its changed mode of production (the move away from stage drama to film due to the availability of technology in the films 20thc context [LINK]) employs filmic techniques such as camera angles and visual symbolism in order to create these same atmospheres and emotions. For example, the constant use of the motif of ticking clocks and the close to real time the film is shot in heightens tension and suspense. Another example is the scene in which Kane walks down the main street to face the Miller gang alone where the camera pans upwards as he begins his slow walk to highlight the emptiness of the town and thus Kanes isolation and the vulnerability of his figure.

Genre and its evolution:

Different genres come in out of popularity and this in turn shapes the genres themselves; this is because of the dynamic fluidity of genre. Equally important is the fact that any one text can belong to a number of genres and that the boundaries between genres are becoming increasingly permeable. High Noon is an example of this as it is a hybrid of the revenge and Western genres. The context of this films creation seems to have played a role in this in that the Western genre was highly popular at this time; however with the political context the film makers (looking to convey a message) introduced elements of the Revenge Tragedy genre in order to bring a serious element of societal comment and moral speculation conventional of Revenge Tragedy.

Text Summary Name: The Lion King Author/Creator: Disney Medium: film, animation Year of release: 1994 Audience:
- Children of the late 20th century - primarily Western - But due to globalisation and context has universal applicable themes (through the use of animals) and hence became universal. - (Change in Disney is due to change in context)

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Context/Purpose:
Had to have Disney themes and values and had to be part of the Disney formula, however it was, at the same time trying to be more diversified symbolized through the use of animal. (Disney assemblage line; move away). Disney Franchise traditions inherit in that Make money capitalism LINK to context Moralistic undertones context, western morals Archaic, Christian, feudalistic values and morals. (Spreading through globalisation) Globalised world, through western technology and media modern world Globalisation multiculturalism effect of this leads to disguising of Christian values, set in Africa, etc Didactic tradition moral tales for the kiddies Reiterate/ reinforce the Grand Narrative Informed greatly by Hamlet LINK to intertextuality Widening of genre, breaking down traditional canon to globalise themes and issues hence animalisation (personification/anthropomorphism) of characters Change due to context: submerging traditional morals under a secular fairytale, entertainment story because of the formulation of secular society and the growing belief of objective scientific thought. LINK: Contrasts directly The Revengers Tragedy attainment of licences (permission to create plays, etc)

Values:
- Fate - Belief in people having a place in the world circle of life conforming - Moralist/Christian values looking up at the stars - Cultural assumptions of intertextuality, informed by stories about the lion being the king of the animal kingdom - Reiteration of feudalistic nature combined with Christian religion common theme e.g. symbolism dad in clouds

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- Reiteration of autocratic rule, divine right to rule, wisdom of monarchs - Parallel between Jacobean theology (Christian) with unification of the rulers spirit with divinity and immortality the past kings being stars Mufasa cloud episode. - Light and dark black and white, good and evil, Link to audience . Scar is a dark lion living in the Shadowlands. Your kingdom stretches to where the light shines - Hakauna mata his escape into the jungle egalitarian society in which no hierarchy, no social order etc, uneducated - parallel with communism!!! Simba returns to his rightful place, triumph of capitalism. LINK High Noon McCarthyism. - Simba to begin with he wants to make all these changes, when he comes back he is portrayed as wise, as he keeps everything the same, does everything the same as his father keeps the circle going. -What do you want me to do, dress in drag and do the hula making joke of communism using it just a distraction whilst capitalism takes over - impact of revenge on society and the individual running away from it is bad and cowardly, enacting it allows order/life to be restored - merits of revenge restores natural order, makes everyone happy again, restores life

Generic Conventions:
- Supernatural: Mussafa cloud episode, old wise monkey man - Natural Order: The Circle of Life etc, is reinstated when he overthrows Scar - Corruption of Duke: a.k.a. Scar royal court - Moral dilemma faced by hero/avenger: naivety, not wanting to go back thinking everything will go on fine without him, Narla enlightens him on the moral significance, she initiates the restoration of natural order, catalyst of change - Melodrama: Contrast to create melodrama in order to create sense and emotional attachment, position the reader along with the values adherent in the text. High angles create a sense of the smallest of Simba. Contrast of colours, black and white. - Use of disguise/deception: Scar hiding behind happy uncle figure, Scar hides the truth from all the lionesses. Is not used by hero/avenger but is used by the villain, to reiterate the Christian morals aka lying is SIN eternal damnation

YR 12 ENG EXT Genre Study: Revenge Tragedy

- Victim aware of revenge: Yes, Scar is aware, although Simba isnt even aware that he has reason for revenge until right at the end. - Revenge in kind for the wrong done: both lead to death (by herds) parallel of both hanging off the rock (Pride Rock) made out that it is right that Scar died. - Nobility/Higher they are the higher they fall: he is the lion king - Order restored by actions: cyclic nature, parallels with the beginning and end, dawning of a new era (of the light) at the end - Corrupt Society: Hyenas there the masses when Scar in power, the corrupt of society - Hero isolated and vulnerable: part of character flaw, nave and vulnerable to manipulation, so to the point that it impairs his ability to re-enact revenge. - Soliloquies: Songs are used as soliloquies, purpose is the same, an aside, motivation of character, it wouldnt actually happen in real life, plus its entertaining for children, catchy, makes you love the movie even though it is bad, evil, and DISNEY. LINK music to purpose/audience because of music as a universal communicator/language INVERSIONS - Wrong was not enacted, it creates a climax, not done as it is a circular movie, so has to start at the top of he circle (full circle) has to be inverted - Notion of injustice done to hero, quite obvious to audience that it Scar who killed Moufassa, but Simba doesnt know (audience positioning), therefore we never doubt Simba, LINK to capitalism and Christianity. - Tragic Flaw of Simba = naivety, willingness to trust Scar right up into the end. - Madness is used, to create a light hearted feeling for the audience, the avenger doesnt have it, he cannot be seen to be on the verge of madness due to black-ness and white-ness (LINK audience) - Violence because of the audience, cannot enact on stage (LINK Medea), but create fear through music, lighting create atmosphere of tension and fear, use this instead, due to audience, and context - Lack of complicated subplots, links back to black and white, and audience purpose and context - Moral decay, already decayed when he goes off to the communist, and then regains them, due to values underlying the text. - Lots of death in ending not, hope for life, rain comes again, trees again, NATURAL order. Importance of the new life not the death restoration of order, context, audience. (Scar reign = symbols of death) Contrast between disorder which is death, and order which is life

YR 12 ENG EXT Genre Study: Revenge Tragedy

N -No ethical ambiguity, black and white, because, of audience, context, purpose

My Spiel (genre and its evolution):

Relates back to audience, context and purpose The integration of more than one genre into new sub-genres and text. Each text within a genre changes the genre irreversibly. Intertextuality, the importance -Hamlet -Biblical allusion Cultural assumptions Fluidity of genre, transformations adapting to reach a wide contemporary audience Mode of production Revenge being broader into other genre, infiltrating genre Boundaries between genres are shifting and becoming more permeable - Abercrombie