Why Shaun of The Dead should be considered literary is literature and inspired us as to how to go about analyzing Shaun of the Dead. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get an original essayI would also like to sincerely thank Ms. Teo Hsin Fern for being a knowledgeable mentor, guiding us through our research journey to prove the literary legitimacy of Shaun of the Dead. Additionally, we would like to thank many students at our school for encouraging us along the way, especially Ron, for providing us with valuable advice.IntroductionShaun of the Dead is a comedy film released in 2004 and directed by Edgar Wright. The film follows a man named Shaun who must survive a zombie apocalypse. It has been considered a cult classic since its release due to its breathtaking mastery of humor and clever premise. This "entertainment factor" of Shaun of the Dead has placed itself firmly in the category of films that are not serious enough to be considered a work of literature. Traditionally, literature has been considered the canonical works of authors, as Bloom's film shows. The Western Canon', published in 1994. This list of 25 literary authors included Shakespeare, Austen, Chaucer and many more. This meant that literature included only established texts written by authors considered brilliant by the literary community, thus excluding the works of any other author, regardless of literary merit, from being considered literature, simply because that they are “essentially” not. (Geisel, TS 2005)Research objectiveThe aim of our research is to prove that the film can and should be considered literary. Shakespearean plays and writings have been considered literature by audiences (Erne, L 2013), but this has not extended to other areas of cinema (Anne Bartsch 2012), where audiences prioritize emotional gratification immediate rather than the appreciation of the work of a film. Through this study, we aim to prove that the film can be considered literary according to the essentialist features of literature. There have been controversies on similar topics – discussions about whether the film can be considered literary. For example, Matthew Brett Vaden asserted in 2015 that “cinema encourages spectators to explore the world it shows. Viewers feel the presence and power of the film because they are looking into a secondary world – a world that feels very real to them, but is also elusive and mystical. and despite the fact that cinema and literature in the traditional sense are presented in very different mediums, “they fundamentally share the same essence, or the same spirit. This mind is a story or a narrative. Our goal is to establish how Shaun of the Dead can be considered literary, through an in-depth analysis of its cinematography, narrative elements, and stylistic language or diction. We choose to study the first, third, and fifth features of essentialist literature because we believe they are the most controversial ones which, once proven, would make our argument much more convincing. The other two are considered the reason for choosing Shaun of the Dead would be that Edgar Wright was consideredas one of the most brilliant comedy filmmakers and despite all the techniques employed by Edgar Wright, many consider his work to be "entertaining" at most, and in no way literary. Therefore, through this study, we hope giving Edgar Wright the recognition he deserves for his work We plan to analyze the essentialist traits of Shaun of the Dead, supported by evidence from the film's themes it explores and its character development. aims to explore the literary nature of Shaun of the Dead, by explicitly defining that Shaun of the Dead possesses literary characteristics according to the five qualities of essentialist literature, as defined below (Culler, 2000). Literature dictates that literature must use language competently and demonstrate skill in manipulating words. By fictionality, this would mean that the plot of the story and its elements are a figment of the author/creator's imagination. and therefore should not be considered historically true or accurate. Literature should convey universal and transcendental concepts and themes of human nature - love, hatred, life or death. Purpose refers to the art of creating literature, whereby the creator intentionally applies language in certain ways. However, literature does not have a defined purpose, unlike other forms of text. For example, propaganda has an ulterior motive in its production (Jowett, G., & O.Donnell, V. 2018). Instead, literature allows readers to appreciate it on its own and draw their own conclusions, and should not be didactic. Intertextuality refers to intentional similarities between different literary works that alter the viewer's perspective based on a person's own knowledge. Intertextuality includes literary devices such as quotations, allusions, pastiche, tracing and parody (Genette, G. 2001) (Hallo, William W. 2010). between one text (a novel for example) and another or one text in the interwoven fabric of literary history. Critics see this as an indication of postmodernism's lack of originality and its reliance on clichés. Intertextuality in postmodern literature can be a reference or parallel to another literary work, an in-depth discussion of a work, or the adoption of a style. In postmodern literature, this is usually manifested through references to fairy tales – as in the works of Margaret Atwood, Donald Barthelme and many others – or through references to popular genres such as science fiction and fiction police officer. An early 20th century example of intertextuality that influenced later postmodernists is Jorge Luis Borges' "Pierre Ménard, Author of Quixote", a story with significant references to Don Quixote that is also a good example of intertextuality with its references to medieval novels. Don Quixote is a common reference among postmodernists, for example the novel Don Quixote by Kathy Acker: Which Was a Dream. Another example of intertextuality in postmodernism is John Barth's The Sot-Weed Factor, which deals with Ebenezer Cooke's poem of the same name. Intertextuality is often more complicated than a simple reference to another text. For example, Robert Coover's Pinocchio in Venice connects Pinocchio to Thomas Mann's Death in Venice. Additionally, Umberto Eco's The Name of the Rose takes the form of a detective novel and references authors such as Aristotle, Arthur Conan Doyle and Borges. » Apply post-modernist concepts of intertextuality and pastiche to Shaun of the Dead. The intertextuality of Shaun of the Dead can be seen in the many referenceswhich he does to other films and TV shows. To cite a few examples, in Day of the Dead, a well-known zombie film, a zombie staggers into the frame. Near the beginning of the film, Shaun of the Dead has a similar shot of Shaun staggering into the camera frame after waking up. Shaun's workplace before the zombie apocalypse is called Foree Electric, a clear reference to one of the stars of Dawn of the Dead (yet another zombie film), Ken Foree. Finally, after the zombie outbreak begins, Ed exclaims to Shaun's mother, "We're coming for you, Barbara." » This line refers to a line from George Romero's seminal zombie film, Night of the Living Dead. Cinematography According to "A Film Experience", the film can be analyzed through 7 methods. Analysis of frame, light and color, lens, movement, texture, establishment and POV. Crossed over with “Corrigan White,” the ability of a film’s mise-en-scène to depict themes and messages reinforces the aforementioned characteristic of “foregrounding language.” References to other literatures can be identified (i.e. intertextuality) and, furthermore, postmodern pastiche will be analyzed to qualify this film as literary. ThemesPeter Barry defined how humanist literature should express its themes and what type of themes it expresses in his seminal work “Theory”. before theory. It details the principles of liberal humanism and while this is important to our study, we focus primarily on the broad definition drawn from the principles that literature should foreground tensions and paradoxes that are timelessly significant for the human nature, transcending synchronic and diachronic limitations. of the Dead follows the film's three-act structure. The structure involves a setup, then a confrontation, and ends with a resolution. (Moura, G. 2014) The acts are punctuated by a plot point which initiates a crucial change, either within the characters or in their situation. Throughout the film, the structure of Shaun of the Dead is used to highlight and flesh out the theme of the film, primarily the conflict between wanting to grow up and wanting to retain one's immature youth. of Shaun and Liz, and their relationship and its struggles. We are exposed to the information that the two of them want to get together, but due to Shaun's lack of trust and indecision, their relationship has more or less stagnated. Act I focused on setting expectations for themes that would be explored in the series, such as growing up versus nostalgia. Act I also establishes the conformity of society and how ordinary life is around Shaun. ConfrontationAct 2 immerses viewers in a potential major conflict by introducing the main characters to the film's main antagonists: the zombies, and forces Shaun to confront the relationship issues that have plagued him and Liz. The main characters escape the zombies and find shelter at the Winchester Pub, slowing the action and setting off the human drama that will drive the rest of the film. Shaun's choice to grow up and become an adult manifests its consequences since he loses his mother (and therefore the protection and motherhood that she gave him). David even questions his resolve to become more mature, further asking Shaun some serious questions. The zombies then launch their final assault on the Winchester. Shaun and his friends are gradually eliminated one by one, even as Shaun begins to see the benefits of growing up. Resolution In Act 3, Shaun, Ed and Liz are stuck in the basement of the Winchester and come to terms with their mortality right after. as Shaun comes to terms with his new maturity. Suddenly,.

Essay / Why Shaun of The Dead should be considered literary is literature and inspired us as to how to go about analyzing Shaun of the Dead. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get an original essayI would also like to sincerely thank Ms. Teo Hsin Fern for being a knowledgeable mentor, guiding us through our research journey to prove the literary legitimacy of Shaun of the Dead. Additionally, we would like to thank many students at our school for encouraging us along the way, especially Ron, for providing us with valuable advice.IntroductionShaun of the Dead is a comedy film released in 2004 and directed by Edgar Wright. The film follows a man named Shaun who must survive a zombie apocalypse. It has been considered a cult classic since its release due to its breathtaking mastery of humor and clever premise. This "entertainment factor" of Shaun of the Dead has placed itself firmly in the category of films that are not serious enough to be considered a work of literature. Traditionally, literature has been considered the canonical works of authors, as Bloom's film shows. The Western Canon', published in 1994. This list of 25 literary authors included Shakespeare, Austen, Chaucer and many more. This meant that literature included only established texts written by authors considered brilliant by the literary community, thus excluding the works of any other author, regardless of literary merit, from being considered literature, simply because that they are “essentially” not. (Geisel, TS 2005)Research objectiveThe aim of our research is to prove that the film can and should be considered literary. Shakespearean plays and writings have been considered literature by audiences (Erne, L 2013), but this has not extended to other areas of cinema (Anne Bartsch 2012), where audiences prioritize emotional gratification immediate rather than the appreciation of the work of a film. Through this study, we aim to prove that the film can be considered literary according to the essentialist features of literature. There have been controversies on similar topics – discussions about whether the film can be considered literary. For example, Matthew Brett Vaden asserted in 2015 that “cinema encourages spectators to explore the world it shows. Viewers feel the presence and power of the film because they are looking into a secondary world – a world that feels very real to them, but is also elusive and mystical. and despite the fact that cinema and literature in the traditional sense are presented in very different mediums, “they fundamentally share the same essence, or the same spirit. This mind is a story or a narrative. Our goal is to establish how Shaun of the Dead can be considered literary, through an in-depth analysis of its cinematography, narrative elements, and stylistic language or diction. We choose to study the first, third, and fifth features of essentialist literature because we believe they are the most controversial ones which, once proven, would make our argument much more convincing. The other two are considered the reason for choosing Shaun of the Dead would be that Edgar Wright was consideredas one of the most brilliant comedy filmmakers and despite all the techniques employed by Edgar Wright, many consider his work to be "entertaining" at most, and in no way literary. Therefore, through this study, we hope giving Edgar Wright the recognition he deserves for his work We plan to analyze the essentialist traits of Shaun of the Dead, supported by evidence from the film's themes it explores and its character development. aims to explore the literary nature of Shaun of the Dead, by explicitly defining that Shaun of the Dead possesses literary characteristics according to the five qualities of essentialist literature, as defined below (Culler, 2000). Literature dictates that literature must use language competently and demonstrate skill in manipulating words. By fictionality, this would mean that the plot of the story and its elements are a figment of the author/creator's imagination. and therefore should not be considered historically true or accurate. Literature should convey universal and transcendental concepts and themes of human nature - love, hatred, life or death. Purpose refers to the art of creating literature, whereby the creator intentionally applies language in certain ways. However, literature does not have a defined purpose, unlike other forms of text. For example, propaganda has an ulterior motive in its production (Jowett, G., & O.Donnell, V. 2018). Instead, literature allows readers to appreciate it on its own and draw their own conclusions, and should not be didactic. Intertextuality refers to intentional similarities between different literary works that alter the viewer's perspective based on a person's own knowledge. Intertextuality includes literary devices such as quotations, allusions, pastiche, tracing and parody (Genette, G. 2001) (Hallo, William W. 2010). between one text (a novel for example) and another or one text in the interwoven fabric of literary history. Critics see this as an indication of postmodernism's lack of originality and its reliance on clichés. Intertextuality in postmodern literature can be a reference or parallel to another literary work, an in-depth discussion of a work, or the adoption of a style. In postmodern literature, this is usually manifested through references to fairy tales – as in the works of Margaret Atwood, Donald Barthelme and many others – or through references to popular genres such as science fiction and fiction police officer. An early 20th century example of intertextuality that influenced later postmodernists is Jorge Luis Borges' "Pierre Ménard, Author of Quixote", a story with significant references to Don Quixote that is also a good example of intertextuality with its references to medieval novels. Don Quixote is a common reference among postmodernists, for example the novel Don Quixote by Kathy Acker: Which Was a Dream. Another example of intertextuality in postmodernism is John Barth's The Sot-Weed Factor, which deals with Ebenezer Cooke's poem of the same name. Intertextuality is often more complicated than a simple reference to another text. For example, Robert Coover's Pinocchio in Venice connects Pinocchio to Thomas Mann's Death in Venice. Additionally, Umberto Eco's The Name of the Rose takes the form of a detective novel and references authors such as Aristotle, Arthur Conan Doyle and Borges. » Apply post-modernist concepts of intertextuality and pastiche to Shaun of the Dead. The intertextuality of Shaun of the Dead can be seen in the many referenceswhich he does to other films and TV shows. To cite a few examples, in Day of the Dead, a well-known zombie film, a zombie staggers into the frame. Near the beginning of the film, Shaun of the Dead has a similar shot of Shaun staggering into the camera frame after waking up. Shaun's workplace before the zombie apocalypse is called Foree Electric, a clear reference to one of the stars of Dawn of the Dead (yet another zombie film), Ken Foree. Finally, after the zombie outbreak begins, Ed exclaims to Shaun's mother, "We're coming for you, Barbara." » This line refers to a line from George Romero's seminal zombie film, Night of the Living Dead. Cinematography According to "A Film Experience", the film can be analyzed through 7 methods. Analysis of frame, light and color, lens, movement, texture, establishment and POV. Crossed over with “Corrigan White,” the ability of a film’s mise-en-scène to depict themes and messages reinforces the aforementioned characteristic of “foregrounding language.” References to other literatures can be identified (i.e. intertextuality) and, furthermore, postmodern pastiche will be analyzed to qualify this film as literary. ThemesPeter Barry defined how humanist literature should express its themes and what type of themes it expresses in his seminal work “Theory”. before theory. It details the principles of liberal humanism and while this is important to our study, we focus primarily on the broad definition drawn from the principles that literature should foreground tensions and paradoxes that are timelessly significant for the human nature, transcending synchronic and diachronic limitations. of the Dead follows the film's three-act structure. The structure involves a setup, then a confrontation, and ends with a resolution. (Moura, G. 2014) The acts are punctuated by a plot point which initiates a crucial change, either within the characters or in their situation. Throughout the film, the structure of Shaun of the Dead is used to highlight and flesh out the theme of the film, primarily the conflict between wanting to grow up and wanting to retain one's immature youth. of Shaun and Liz, and their relationship and its struggles. We are exposed to the information that the two of them want to get together, but due to Shaun's lack of trust and indecision, their relationship has more or less stagnated. Act I focused on setting expectations for themes that would be explored in the series, such as growing up versus nostalgia. Act I also establishes the conformity of society and how ordinary life is around Shaun. ConfrontationAct 2 immerses viewers in a potential major conflict by introducing the main characters to the film's main antagonists: the zombies, and forces Shaun to confront the relationship issues that have plagued him and Liz. The main characters escape the zombies and find shelter at the Winchester Pub, slowing the action and setting off the human drama that will drive the rest of the film. Shaun's choice to grow up and become an adult manifests its consequences since he loses his mother (and therefore the protection and motherhood that she gave him). David even questions his resolve to become more mature, further asking Shaun some serious questions. The zombies then launch their final assault on the Winchester. Shaun and his friends are gradually eliminated one by one, even as Shaun begins to see the benefits of growing up. Resolution In Act 3, Shaun, Ed and Liz are stuck in the basement of the Winchester and come to terms with their mortality right after. as Shaun comes to terms with his new maturity. Suddenly,.

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