Issue 38
Vanishing Points

The Thaumatrope as a Textual Operator in Sleepy Hollow and The Wonder

PDF (Español (España)) PDF
  • Enric Burgos
Enric Burgos
Universitat de València
Bio
DOI: https://doi.org/10.63700/1146

Published 2024-07-31

Keywords

  • Thaumatrope,
  • Sleepy Hollow,
  • The Wonder,
  • Film Analysis ,
  • Comparative Analysis,
  • Tim Burton,
  • Optical toys
    • ...More
    Less

How to Cite

Burgos, E. (2024). The Thaumatrope as a Textual Operator in Sleepy Hollow and The Wonder. L’Atalante. Journal of Film Studies, (38), 141–154. https://doi.org/10.63700/1146

Copyright (c) 2024 L'Atalante. Journal of film studies

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Abstract

This article aims to establish and compare the rhetorical and symbolic functions of the representation of the thaumatrope in Sleepy Hollow (Tim Burton, 1999) and The Wonder (Sebastián Lelio, 2022). In doing so, and after some brief reflections on the optical toy and its representation in cinema, we focus on the analysis of the scenes of the two films in which the thaumatrope appears. The results of the two case studies allow us to identify the three functions that the textual operator performs in both Sleepy Hollow and The Wonder: 1) to provide the metaphor that illustrates the personal situation of the protagonists, 2) to emphasize the conflict between the rational and the extrarrational and 3) to promote the metacinematographic approach to both films.

 

PDF (Español (España)) PDF

Downloads

Download data is not yet available.

References

  1. Benton, S. (2014). “Pinioned by a Chain of Reasoning”? Anti-intellectualism and Models of Rationality in Tim Burton’s Sleepy Hollow. En McMahon, J. L (ed.), The Philosophy of Tim Burton (pp. 111-130). Lexington: University Press of Kentucky.
  2. Cheron, F. (2023). Tim Burton, un cinéma de la ré-imagination. Arràs: Arrois Presses Université.
  3. Crary, J. (1990). Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge: MIT.
  4. El-Nouty, H. (1978). Theâtre et pré-cinema: essai sur la problématique du spectacle au XIXe siècle. París: Nizet.
  5. Frutos, F. J. (1996). La fascinación de la mirada. Los aparatos precinematográficos y sus posibilidades expresivas. Valladolid: Junta de Castilla y León.
  6. Fuentes, A. (2022). The Wonder (2022). Comunicación y Género, 5(2), 157-158. https://doi.org/10.5209/cgen.8505
  7. González de Arce, R. (2018). Representaciones fílmicas de aparatos, juguetes y espectáculos ópticos anteriores al cine: un recurso de autorreflexividad metaficcional. El ojo que piensa. Revista de cine iberoamericano, 16, 118-142. http://www.elojoquepiensa.cucsh.udg.mx/index.php/elojoquepiensa/article/view/284/288
  8. Gunning, T. (2012). Hand and Eye: Excavating a New Technology of the Image in the Victorian Era. Victorian Studies, 54, 495-516. https://doi.org/10.2979/victorianstudies.54.3.495
  9. Hanifah, A., Hkikmat, M. H., Nurholis, N. (2023). Religious Dogma in Sebastián Lelio’s The Wonder (2022). Saksama: Jurnal Sastra, 2(1), 55-63. https://doi.org/10.15575/sksm.v2i1.26975
  10. Hecht, H. (1993). Pre-cinema History: An Encyclopedia and Annotated Bibliography of the Moving Image Before 1896. Londres: Bowker-Saur.
  11. Manning, K. M. (2016). Converging Worlds: Neo-Victorianism in the Stop-Motion Films. En Cheu, J. (ed.), Tim Burton: Essays on the Films (pp. 184-197). Jefferson: McFarland.
  12. Marzal, J. J., Gómez Tarín, F. J. (2007). Interpretar un film. Reflexiones en torno a las metodologías de análisis del texto fílmico para la formulación de una propuesta de trabajo. En Marzal, J. J., Gómez Tarín, F. J. (eds.), Metodologías de análisis del film (pp. 31-56). Madrid: Edipo.
  13. Parks, L. (2016). Corporeal Mediation and Visibility in Sleepy Hollow. En Cheu, J. (ed.), Tim Burton: Essays on the Films (pp. 54–69). Jefferson: McFarland.
  14. Plate, S. B. (2000) Sleepy Hollow. Journal of Religion & Film, 4(1), Article 11. https://digitalcommons.unomaha.edu/jrf/vol4/iss1/11
  15. Price, G. (2023) The Wonder. Estudios irlandeses, 18, 359-362. https://www.estudiosirlandeses.org/reviews/the-wonder/
  16. Siegel, C. (2013). Tim Burton’s Popularization of Perversity: Edward Scissorhands, Batman Returns, Sleepy Hollow, and Corpse Bride. En Weinstock, J. A. (ed.), The Works of Tim Burton (pp. 197-216). New York: Palgrave Macmillan.
  17. Zotti, C. A. (1998). Dispositivi ottici alle origini del cinema. Immaginario scientifico e spettacolo nel XVIII e XVIII secolo. Bolonia: CLUEB.
  18. Zunzunegui, S. (1996). La mirada cercana. Microanálisis fílmico. Barcelona: Paidós.