“He is one of the most amazing, popular, and iconic characters in the history of motion pictures. His 1933 debut was a legendary piece of pure cinema - simultaneously a terrifying monster movie, epic fairy tale, tragic love story, and deeply resonant cultural myth. His name is King Kong.” (Morton, 2005) This research essay will be analysing the film(s) King Kong 1933 directed by Merian C. Cooper and Ernest B. Schoedsack and the remake King Kong 2005 directed by Peter Jackson. The essay will compare and link each style of films, the narrative, genre and aesthetics. Throughout the discussion the essay will undertake an Industrial and historical approach which will be used to analyse both films. It will delve into the history and themes; how they
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Further exploration reveals that, “King Kong is best grasped through codes characteristic of the travel documentary and jungle-adventure traditions— two generic fields in which Merian C. Cooper and Ernest B. Schoedsack staked their professional reputations in the 1920s and early 1930s”. (Erb, 2009) She also discusses how two of the most salient recurring tropes from these genre traditions “the camera/gun trope and the drama of the touch” (Erb, 2009), are especially prominent in the film. The film does also focus strongly on the aspect of romance particularly with Kong and Ann. One of the highlighting moments in the film is when character Carl Denham reveals that he will incorporate some sort of romance in his picture, because that is what the audience wants. Whilst the film heavily concentrates on the relationship between King Kong and Ann Dowry, Cynthia Erb argues that, “crucial to the film’s dynamic is the masculine exchange between nature filmmaker Carl Denham and the exotic King Kong— two figures mythically and respectively embodied through tropes of camera adventure and the drama of the touch.” (Erb, 2009) Which also adds to the genre of the film, which enhances the narrative. There was a notable shift in genre and narrative when comparing both films. “The shift from horror to an overall emphasis on mood and tears defines the remake as a whole”, (Erb, 2009). In the original film, it is clear that the main focus is the overall horror. As an audience, we see a shift, in the remake, as director Peter Jackson heavily implements, a melancholy type mood. There is a lot more emotion depicted in the remake compared to the original. The remake film pivots instead around the idea of melancholy, apparent in Kong’s status as a grieving, melancholy hero. As an audience we can see the translation of mood and theme exemplified in the contrast between the
Further exploration reveals that, “King Kong is best grasped through codes characteristic of the travel documentary and jungle-adventure traditions— two generic fields in which Merian C. Cooper and Ernest B. Schoedsack staked their professional reputations in the 1920s and early 1930s”. (Erb, 2009) She also discusses how two of the most salient recurring tropes from these genre traditions “the camera/gun trope and the drama of the touch” (Erb, 2009), are especially prominent in the film. The film does also focus strongly on the aspect of romance particularly with Kong and Ann. One of the highlighting moments in the film is when character Carl Denham reveals that he will incorporate some sort of romance in his picture, because that is what the audience wants. Whilst the film heavily concentrates on the relationship between King Kong and Ann Dowry, Cynthia Erb argues that, “crucial to the film’s dynamic is the masculine exchange between nature filmmaker Carl Denham and the exotic King Kong— two figures mythically and respectively embodied through tropes of camera adventure and the drama of the touch.” (Erb, 2009) Which also adds to the genre of the film, which enhances the narrative. There was a notable shift in genre and narrative when comparing both films. “The shift from horror to an overall emphasis on mood and tears defines the remake as a whole”, (Erb, 2009). In the original film, it is clear that the main focus is the overall horror. As an audience, we see a shift, in the remake, as director Peter Jackson heavily implements, a melancholy type mood. There is a lot more emotion depicted in the remake compared to the original. The remake film pivots instead around the idea of melancholy, apparent in Kong’s status as a grieving, melancholy hero. As an audience we can see the translation of mood and theme exemplified in the contrast between the