Running head: FANTASY FILM RECIPE 1

Fantasy Film Recipe

Cheyenne Vickrey

April 13, 2019

State College of Florida: Bradenton Campus

Author Note

This paper was prepared for Written Communications I (ENC 1101), taught by Professor
Bojanowski.
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Fantasy Film Recipe

Fantasy films are notorious for challenging viewers to reimagine the world utilizing a

basic recipe. Such films start off by establishing an easily detachable main character: “The first

thing that is apparent in the fairy tale . . . is that it portrays its hero as isolated . . . often an only

‘child’ or a stepchild, and therefore ‘easily detachable’ from home and society” (Potts, 2012,

p.222). Additionally, characters begin their quest upon passing through a portal which represents

a shift from a child-like state (Potts, 2012, p.223). To aide their journey “In fantasies or fairy

tales, the protagonists is always open to enter new relationships, and along the way of their quest

comes in contact with many helpers, accepting gifts, help, and advice.” (Potts, 2012, p.222).

They also receive “magical assistance” as one of fantasy’s trademarks. (Potts, 2012, p.223).

Eventually, “the hero must endure passage through the Underworld, that is, a confrontation with

death” (Potts, 2012, p.225); before acquiring “autonomy and authority by placing the needs of

the greater community ahead of his or her own needs” (Potts, 2012, p.221)

In Tim Burton’s Alice in wonderland (2010), Alice Kingsleigh is a teenager who has long

since forgotten her adventures in Underland as a young girl. However, at a garden party for her

engagement she spots a white rabbit from her dreams. Tumbling down a hole after him she is

met by other familiar faces such as the Mad Hatter and the Cheshire Cat. Here she is tasked with

fulfilling a prophecy where she slays the jabberwocky and saves Underland from the Red Queen.

Alice in wonderland adheres to the tradition of fantasy films as it demonstrates a quest in which a

hero passes through a portal interacting with fantastical creatures and objects to obtain

independence.

Like most other fantasy films, Burton starts off by introducing the main character as

separate from society. Alice Kingsley rides in a carriage with her mother on the way to a garden
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party. However, she is quickly differentiated from most aristocratic women with her vast

imagination and hatred for simple social standards. First, her mother adjusts her hair before

moving downward to her waist where she questions her daughter’s corset or lack thereof. Upon

this realization she then checks for stockings as well to be met with bare calves. Alice justifies

herself by saying she’s “against them” and “who’s to say what is proper?” She furthers this by

telling her mother to imagine “proper was wearing a codfish on her head”. A camera uses

individual switching close up cuts for both mother and daughter to indicate the feeling of tension

from differing opinions. This particular scene aims to point out just how different Alice is from

the British Victorian society she has grown up in. Unlike most women during this time period

she ignores standard fashion trends such as wearing a corset and stockings. Not only this but she

seeks to question what is normal with her statement about a codfish on one’s head.

Following the heroine’s introduction, a portal is presented in which the character must

trespass into the unknown (Potts, 2012, p.223). After Hamish’s proposal to her, Alice pauses

incapable of answering to a question that could forever change her life. It is then she notices

from the corner of her eye the White Rabbit running through shrubs. Curious because she saw

him in a dream multiple times, she chases after him. What seemed like a harmless game of chase

though soon turned into a horrifying experience of falling down a rabbit hole. When she reaches

the bottom, she has been transported into a room of doors. Using a key that magically appears on

the table at the center of the room, she unlocks the smallest door hidden behind a curtain and

enters. Passing through the door opens her to the fantastical world of Underland where her quest

begins. Often doors are the start to something such as the beginning of a new room. Alice’s

passage symbolizes the start of her journey towards autonomy. However, when the scene is first

shown the door is covered up by a curtain. This initial visual presents the new journey to
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independence as hidden until she discovers it. The audience as a result takes note that this is the

point in which something fantastical happens to Alice Kingsley because she uncovers the

entrance.

Consequently, the protagonist meets helpers after discovering their purpose for adventure

that provide aid (Potts, 2012, p.222). One of the most memorable characters amongst Alice’s

group of friends is the Mad Hatter; an energetic and jumbled hat maker that enjoys tea. His nutty

and lively nature can be attributed to the origins of the term “Mad as a Hatter”. Hat makers often

used glue to make hats that had heavy amounts of mercury content. Mercury poisoning caused

dramatic personality changes making him the disorderly character he is. (Weintraub, 2010). In

one scene Hatter, Mallyumkin, The March Hare, and Alice all sit at a large table full of old food.

While watching the rantings of the insane group, the Knave of Hearts approaches with a

bloodhound and a gang of card soldiers. Seeing him approach causes Hatter to begin urging

Alice to drink a potion so she can shrink smaller. Once she is shrunken further, he picks her up

and throws her into his tea pot to hide. He proceeds to continue his odd banter with his friends

while dishes are tossed about to throw the Knave of Hearts off Alice’s trail. This specific scene

serves to introduce new characters with corky mannerism along with touching on the third point

of forming new relationships. While Mallyumkin, March Hare, and Hatter are all seen as helpful

friends and one of fantasy’s key points, they also utilize magic to assist in the form of a shrinking

potion. A similar potion is also used to fit through the small door after falling down the rabbit

hole.

Moreover, once the heroine has passed through the portal and met helpful allies, she must

have a confrontation with death (Potts, 2012, p.225). In disguise at Red’s castle to help save the

Hatter, Alice is also tasked with finding the vorpal sword. This proves dangerous when the
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White Rabbit shows her where it is hidden. Inside a little hut is a box with the vorpal sword

hidden away along with the Bandersnatch whom earlier in the movie clawed her arm. The beast

serves as the vicious guardian protecting the sword. Walking into his shack unarmed would be

deadly because of his poisonous claws. Despite this Alice has a moment of courage to help her

friends thus resulting in her coming up with an alternative plan without having to kill the

creature. She traverses the halls searching for Mallyumkin who held onto the Bandersnatch’s eye

as a token for his earlier defeat. After taking back the eye she sneaks her way into the shack with

caution to see if the fowl beast would accept her gift as a sign of peace. Luckily, the deadly

situation works in her favor allowing her access to the sword and granting a new companion.

This scene in which bravery and determination takes over marks the first time in the film Alice

grasps her fate by making the decision to find the sword. Instead of denying her position as the

Jabberwocky slayer she makes a massive step towards accepting this truth by putting her life on

the line for the sake of others. While at this point in time she still hasn’t accepted the job of

killing Red’s beast she demonstrates to the audience that she is capable of the task.

Furthermore, in fantasy films a turning point is reached where the hero obtains authority

through putting the needs of the greater community ahead of themselves (Potts, 2012, p.221).

The White Queen is stationed outside her castle amongst loyal subjects such as the Mad Hatter,

March Hare, Tweedle Dee and Tweedle Dumb. Behind her stands her chess piece soldiers.

Prepared to march into battle against her older sister the Red Queen, she requests a champion to

fight the Jabberwocky. One by one Underlanders push forward to offer their services. However,

Alice is the champion prophesized and the only one capable of saving them. Cutting to a gazebo

where Alice questions her abilities, Absolem reassures her by saying she is “Alice at last” and

reminding her of her mistake in pronouncing their home her first visit. It’s at this point she
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remembers her venture as a small child and realizes what she must do for her friends. Alice’s

ability to recall her true past not as a dream she once had but as reality signifies her changing

point. For the longest time she listened to her mother and sister about living in reality with her

true duties as a conforming young lady. This in turn caused her to forget her previous trip to

Underland because her mother preached such a place was fantasy. Realizing her fantasy was in

fact a different form of reality forced her to revisit her old self as a mad girl capable of anything.

In Alice in wonderland “Madness is when one dwells in the in-between space of self and other, a

space haunted by specters of liberation, where one forgets what is impossible.” (Callen, 2012,

p.123). Thus, reaching freedom or nonconformity is obtaining madness. Absolem’s words “Alice

at last” also indicates this change from normal to madness because the Alice they remember was

an imaginative daring little girl. When she first entered Underland this characteristic that defined

her then seemed to be missing. After facing death with the Bandersnatch though she reclaimed

this trait making her “Alice at last”.

In conclusion, Alice in wonderland sticks to the tradition of fantasy films with the use of

mystifying magic and a hero’s journey towards self-determination. While Burton’s film follows

the traditional recipe of fantasy films it’s only part of the reason for lasting appeal. His film is

based on Lewis Carrol’s famous Alice in wonderland but takes the story into a different direction

with an older Alice. This twist on a popular piece of literature along with an identifiable coming

of age story captures audiences with intrigue and relatability.

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References

Burton, T. & Depp, J. (2010, March 3). Tim Burton and Johnny Depp interview Alice in

wonderland [Interviewed by S. Weintraub]. Retrieved from http://collider.com/johnny-

depp-and-tim-burton-interview-alice-in-wonderland/

Callen, J. C. (2012). Impossible things. Administrative Theory & Praxis (M.E. Sharpe), 34(1),

120-214. Retrieved from https://doi-org.db15.linccweb.org/10.2753/ATP1084-

1806340108

Potts, S.W. (2012). One for all: the fantasy quest in The hobbit, The wizard of oz, and His dark

materials. Critical insights: Hero’s quest, 221-236. Retrieved from

http://search.ebscohost.com.db15.linccweb.org/login.aspx?direct=true&db=lkh&AN=834

06995&site=lrc-plus

Roth, J. Todd, J. Todd, S. & Zanuck, D.R. (Producers) & Burton, T. (Director). (2010). Alice in

wonderland. Retrieved from Google Play, https://play.google.com/store/movies?hl=en