The power of human connection as explored through the medium of literature resonates beyond personal perception prompting individuals to contemplate their sense of worth and place in society. The resonating power of human connection is explored in the musical fantasy film ‘The Wizard of Oz’ (1939) as produced by Metro-Goldwyn-Mayer. As an appropriation of the classic children’s novel ‘The Wonderful Wizard of Oz’ (1900) the enduring value of human connection was translated from a novel into the form of film, with the innocence of childhood and personal growth being emphasised by the characterisation and visual imagery throughout the film.
‘The Wonderful Wizard of Oz’ as a reaction to the progressive era when adapted, reflected the values of the Interwar period. A period of time between World War I and World War II marked by turmoil as Europe struggled to recover from the devastation of the First World War and the effects of loss among nations. It is for this reason that films made during this period were produced for the purpose of entertainment. Meaning that if a novel was to be appropriated and contained sections that were not deemed suitable for a film, it was discarded, with remaining material utilised for the purpose of creating an audio/visual medium.
Literature as a medium of self exploration requires preparation and contemplation as to the necessity of visual imagery as supported by themes and characterisation. During the interwar period, the filming of movie adaptions was reinvented with the technique of technicolour, a process that allowed films to transform from sepia to colour. The filming of ‘The Wizard of Oz’ occurred just as the technicolour process was perfected. With the first ‘act’ being filmed in sepia and the second ‘act’ during the wonder of the Land of Oz, as it is filmed in technicolour. Incidentally, the film also switches directors at this point. The black-and-white Kansas sequences were directed by King Vidor, after Victor Fleming, who directed the rest of the film. This type of mid-filming change was a common practice in the studio system when directors were not considered authors but craftsmen.
This is a symbolic representation for the innocence of childhood when presented with a place that is unfamiliar, and often viewed with wonder. This is supported with the three act structure of the film. Consisting of the set up of the film, the confrontation and finally the resolution, which is supported with musical items that reflect each of the acts. The set for the Wizard of Oz is believed to be a symbolic comparison for the economic crisis that occurred within America during this time, similarly to the novel ‘The Wonderful Wizard of Oz’. The symbolic characterisation is shared between the classical text and the appropriated text further emphasising the belief during the 1930s that films were created for entertainment purposes purely.
Themes explored within the text include power and the innocence of childhood as represented in the characterisation of Dorothy, a young girl from Texas who represents the struggle faced by humanity when lacking human connection and its necessity for personal growth. The theme of human nature is explored throughout the film with characterisation of Scarecrow, Tin-Man and Cowardly Lion explored as well as that of the Wizard of Oz and the Wicked Witch of the West. With the Wizard of Oz portrayed as a man of power only to be represented as a ‘coward’, the symbolic representation of water destroying the Wicked Witch of the West is symbolic for a ‘cleansing’ of her perception. As a result of lacking human connection and reflection in her perception of the world ultimately led to her demise. However, Dorothy does not wish to kill the Witch as compared to ‘The Wonderful Wizard of Oz’ where Dorothy is asked to kill the Witch as opposed to bring back her broomstick.
For values to endure between two texts, it must be the composers intention to highlight and draw attention to these values. Metro-Goldwyn-Mayer productions in changing the slippers from silver to ruby red, ultimately changed the concept that the novel revolved around the economic crisis in America during the 1890s-1920s. This supported by the adaption of the plot and removal of the Good Witch of the North and aspects such as the golden cap required a greater focus and understanding from the responder in regards to the power and necessity of human connection in relation to personal growth. Focusing on the characters and their personal growth throughout their journey from Kansas to the Emerald City in search of home regardless of the desire for journey.
‘The Wonderful Wizard of Oz’ as a reaction to the progressive era when adapted, reflected the values of the Interwar period. A period of time between World War I and World War II marked by turmoil as Europe struggled to recover from the devastation of the First World War and the effects of loss among nations. It is for this reason that films made during this period were produced for the purpose of entertainment. Meaning that if a novel was to be appropriated and contained sections that were not deemed suitable for a film, it was discarded, with remaining material utilised for the purpose of creating an audio/visual medium.
Literature as a medium of self exploration requires preparation and contemplation as to the necessity of visual imagery as supported by themes and characterisation. During the interwar period, the filming of movie adaptions was reinvented with the technique of technicolour, a process that allowed films to transform from sepia to colour. The filming of ‘The Wizard of Oz’ occurred just as the technicolour process was perfected. With the first ‘act’ being filmed in sepia and the second ‘act’ during the wonder of the Land of Oz, as it is filmed in technicolour. Incidentally, the film also switches directors at this point. The black-and-white Kansas sequences were directed by King Vidor, after Victor Fleming, who directed the rest of the film. This type of mid-filming change was a common practice in the studio system when directors were not considered authors but craftsmen.
This is a symbolic representation for the innocence of childhood when presented with a place that is unfamiliar, and often viewed with wonder. This is supported with the three act structure of the film. Consisting of the set up of the film, the confrontation and finally the resolution, which is supported with musical items that reflect each of the acts. The set for the Wizard of Oz is believed to be a symbolic comparison for the economic crisis that occurred within America during this time, similarly to the novel ‘The Wonderful Wizard of Oz’. The symbolic characterisation is shared between the classical text and the appropriated text further emphasising the belief during the 1930s that films were created for entertainment purposes purely.
Themes explored within the text include power and the innocence of childhood as represented in the characterisation of Dorothy, a young girl from Texas who represents the struggle faced by humanity when lacking human connection and its necessity for personal growth. The theme of human nature is explored throughout the film with characterisation of Scarecrow, Tin-Man and Cowardly Lion explored as well as that of the Wizard of Oz and the Wicked Witch of the West. With the Wizard of Oz portrayed as a man of power only to be represented as a ‘coward’, the symbolic representation of water destroying the Wicked Witch of the West is symbolic for a ‘cleansing’ of her perception. As a result of lacking human connection and reflection in her perception of the world ultimately led to her demise. However, Dorothy does not wish to kill the Witch as compared to ‘The Wonderful Wizard of Oz’ where Dorothy is asked to kill the Witch as opposed to bring back her broomstick.
For values to endure between two texts, it must be the composers intention to highlight and draw attention to these values. Metro-Goldwyn-Mayer productions in changing the slippers from silver to ruby red, ultimately changed the concept that the novel revolved around the economic crisis in America during the 1890s-1920s. This supported by the adaption of the plot and removal of the Good Witch of the North and aspects such as the golden cap required a greater focus and understanding from the responder in regards to the power and necessity of human connection in relation to personal growth. Focusing on the characters and their personal growth throughout their journey from Kansas to the Emerald City in search of home regardless of the desire for journey.