Over the Rainbow The Wizard of Oz is one of the most pivotal movies of its time. Directed by Victor Fleming, almost 80 years ago in 1939, he created one of the most classic movies of all time. The movie was inspired by the novel written by L. Frank Baum over 100 years ago in 1900. Judy Garland perfected the role of Dorothy Gale who so selfishly seeking to escape from her own family and their Kansas farm. Dorothy soon finds herself in a juxtaposed universe after a tornado ravages through the flat, Kansas landscape. What was once the lackluster and colorless farm was replaced by the radiant and rich land of Oz. Dorothy, as she enters Oz, flattens the Wicked Witch of the East with her house. The witch’s ruby red slippers were now Dorothy’s in
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Another type of trasnworld travel is aesthetically from narrative to musical, ensuring aesthetic significance in the movie. The narrative world refers to what is consistent and coherent. This world obeys a set of stated or unstated rules. Musicals rupture the fabric of reality with song and dance in which the narrative world cannot naturalize (Belton 153). In musicals, we experience a lift or a certain experience that creates pleasure when we willingly suspend our beliefs about what is realistically expected. This lift the audience experiences, when watching The Wizard of Oz, comes from when the film switches from black and white to color. “What appears on screen is not the world, evident and concrete, but a new universe” (Nacache 450). Anything rightly belongs in this new universe: munchkins, inanimate talking objects, or anything that defies logic. The audience can delightfully indulge in “a utopian space in which the problems we normally encounter in our lived experience no longer exist. Instead of poverty, there is abundance; work related exhaustion is replaced by limitless energy…” (Belton 157). It is all about the escape. That’s what makes The Wizard of Oz so aesthetically significant. Dorothy escapes from the dreariness of Kansas to the excess of energy radiating from Oz. The audience escapes with her, hearing the dreams of the scarecrow, the tin man, and the cowardly lion through song and dance. We …show more content…
Frank. The Wizard of Oz. Puffin Books, An Imprint of Penguin Random House LLC,
1900.
Baumann, Steven L. “Wisdom, Compassion, and Courage in the Wizard of Oz: A Human
Becoming Hermeneutic Study.” Nursing Science Quarterly, vol. 21, no. 4, 2008, pp.322-329. EBSCOhost.
Bellin, Joshua David. “I Don’t Know How It Works: The Wizard of Oz and the Technology of
Alienation.” Arizona Quarterly, vol. 60, no. 4, 2004, pp. 65-97.
Belton, John. American Cinema/American Culture. Fourth ed., McGraw Hill, 2013.
Nacache, Jaqueline. “I’ve a Feeling We’re Not in Kansas Anymore: Passing from One World to
Another in Hollywood Musicals.” Neohelicon: Acta Comparationis Literarum Universarum, vol. 40, no. 2, 2013, pp. 449.
Wizard of Oz, The. Victor Fleming. Metro-Golden-Mayer, 1939.
Another type of trasnworld travel is aesthetically from narrative to musical, ensuring aesthetic significance in the movie. The narrative world refers to what is consistent and coherent. This world obeys a set of stated or unstated rules. Musicals rupture the fabric of reality with song and dance in which the narrative world cannot naturalize (Belton 153). In musicals, we experience a lift or a certain experience that creates pleasure when we willingly suspend our beliefs about what is realistically expected. This lift the audience experiences, when watching The Wizard of Oz, comes from when the film switches from black and white to color. “What appears on screen is not the world, evident and concrete, but a new universe” (Nacache 450). Anything rightly belongs in this new universe: munchkins, inanimate talking objects, or anything that defies logic. The audience can delightfully indulge in “a utopian space in which the problems we normally encounter in our lived experience no longer exist. Instead of poverty, there is abundance; work related exhaustion is replaced by limitless energy…” (Belton 157). It is all about the escape. That’s what makes The Wizard of Oz so aesthetically significant. Dorothy escapes from the dreariness of Kansas to the excess of energy radiating from Oz. The audience escapes with her, hearing the dreams of the scarecrow, the tin man, and the cowardly lion through song and dance. We …show more content…
Frank. The Wizard of Oz. Puffin Books, An Imprint of Penguin Random House LLC,
1900.
Baumann, Steven L. “Wisdom, Compassion, and Courage in the Wizard of Oz: A Human
Becoming Hermeneutic Study.” Nursing Science Quarterly, vol. 21, no. 4, 2008, pp.322-329. EBSCOhost.
Bellin, Joshua David. “I Don’t Know How It Works: The Wizard of Oz and the Technology of
Alienation.” Arizona Quarterly, vol. 60, no. 4, 2004, pp. 65-97.
Belton, John. American Cinema/American Culture. Fourth ed., McGraw Hill, 2013.
Nacache, Jaqueline. “I’ve a Feeling We’re Not in Kansas Anymore: Passing from One World to
Another in Hollywood Musicals.” Neohelicon: Acta Comparationis Literarum Universarum, vol. 40, no. 2, 2013, pp. 449.
Wizard of Oz, The. Victor Fleming. Metro-Golden-Mayer, 1939.