Sunday, 9 June 2013

Unit 7 - Development Journal (in progress)

I'll be amending this as I go.


a narrative exploring, inverting and subverting the structure of a fairytale without undermining the entertainment of a story.

Possibly a collection of stories, framed as a tome of fairy tales? Addressing different tropes and expectations?

Experiment with the perspective of a fairytale, and the information provided to the audience, in order to subvert their expections from roles with well defined expectations. Exploration of archetypes. Exploit the universal language and understanding of fairy tales, classical roles. The idea of the wolf as 'danger', the prince as 'charming'. Inversion of the prince and princess roles. Heroic Princess rescuing Prince? Similar to Angela Carter's 'The Bloody Chamber' exploring the previously omitted female perspective. Possible subversions/inversions/explorations:

cinderella glass slipper fits multiple women/only a man/only an animal. fits the ugly step sister first who is made queen?

Frog pretending to be a prince for a kiss (misleading them into thinking that is the subversion). The princess that seems to agree to kiss the frog is actually a creature that eats frogs in disguise as a princess. Transformation trope of fairy tales.

red riding hood a menace for making wolves an endangered species? Harassed by animal cruelty groups? Anachronism.

Question ideas not typically explored/explained that are accepted as part of the strangeness and internal logic of the setting. Where do talking animals learn to talk? The recurring rule of 3(e.g 'what big teeth/long nose/claws' LRRH and three bears goldilocks)

Universal rather than self-referential. Audience research to ascertain reactions and associations with particular archetypes and colours. Reliance upon preexisting knowledge of the tales in the audience. Stick to the best known tales?

The frog prince.


Sleeping Beauty

Beauty and the Beast

Hansel and Gretal

Snow White and the Seven Dwarfs

Little Red Riding Hood:

The Three Little Pigs

Goldilocks and the Three Bears



Jack and the Bean Stalk

The Princess and the Pea

As there is an expectation of dark and edgy renditions of fairy tales alongside the more soft childish ones I could use different stories to address different expectations in the depiction of fairy tales. Use a bleak oppressive aesthetic (similar to Eddie Campbell's in 'From Hell'?) for one story to cultivate expectations of a grizzly, adult fairy tale and then tell a 'disnified' version of the tale with saccharine narration and a happy ending. Similarly, use a soft cutesy colourful style to create anticipation of a simple childish story and then present a gruesome, old style fairy tale possibly using the original narration to maintain a clash on every page(similar to the juxstaposition of cartoonish visuals and extreme violence in 'Happy Tree Friends').

Test own assumptions. Have people draw my character descriptions and see how what others draw correlates. Question what people consider to be the tenants of a fairy tale.


The Seven Basic Plots by Denis Dutton

The Origin of Stories by Brian Boyd

Several feminists approach this – Babette Cole is interestng for dhildren – Tarzanna, also thePaperbag princess + Angela Carter 'The Bloody Chamber' + Carol Ann Duffy 'The World's Wife', 'The Stolen Childhood and Other Dark Fairy Tales', 'The Stolen Childhood and Other Dark Fairy Tales', 'Grimm Tales'.





Vladimir Propp 'Morphology of the Folk Tale'

Tolkien 'On Fairy Stories'


"If this were play'd upon a stage now, I would condemn it as improbable fiction." — Fabian, Twelfth Night

Dissertation an exploration of the necessity for familiar story structure and archetypes in order to successfully communicate and engage with the viewer, while entertaining by purposely betraying/subverting/inverting expectations. Reliance upon archetypes. Established colour queues. Reasons for story telling conventions. Means for both surprise and involvement.

Needs some theoretical underpinning _ the purposr of stoorytelling: basic plots: character archetypes and stereotypes: linguistic modes

The material has a lot of potential – need to steer away though from subverting the narrative in t a way which reads only to you – it needs to be universal to work; Try audience research as in previous project on colour – generate charachers and see how people read them, or get people to draw your character descriptions. Test your own assumptions.

Comparative mythology.

Brechtian metatheatre. Fourth wall. Consciousness of separation. Distancing effect.

Carl Jung Jungian Archetypes. Freud. Psychoanalytical significance of stories.

structural archetypes


Robert McKee 'Story: Substance, Structure, Style and The Principles of Screenwriting'

Joseph Campbell 'The Hero with a Thousand Faces'

Christopher Booker 'The Seven Basic Plots'

FORMULA Victoria Lynn Schmidt 'Story Structure Architect' '45 Master Characters', Georges Polti 'The Thirty-Six Dramatic Situations', Aristole 'Poetics'