Anon, n.d. Intertextuality 101: The Basics. Shrek is a well known animation series of films, distributed by Dreamworks Pictures. Online animation magazine Skwigly noted that some of Shrek’s cinematic references focused on subverting the conventions of adapted Disney Animated Classics such as Sleeping Beauty (1959), Snow White and The Seven Dwarves (1937) and Cinderella (1950). [online] Academia.edu. For example ‘Lord Farquad’ who has been eaten and is singing from the stomach of the dragon, covers BeeGees classic ‘Staying Alive.’. McCallum, R., 2016. McLuhan, M., and Watson, W., 1971. Barthes argues that when an author expresses something inner then it is just the dictionary that they have which is ready-formed. Cinema aside, even the characters have no connection outside of the Shrek franchise. Oxon: Routledge. In all of the Shrek films we see a huge amount of references to other fairytales and films, as well as many cultural references. Therefore it was the intention of the author to have manipulated both obligatory and optional intertextuality in a way that permits them to co-exist in the text, allowing the reader to be able to recognise such themes and characters to build upon their previous understanding. This scene in itself is a remarkable example of intertextuality, as throughout the scene, the recognisable ‘Mission Impossible’ theme song can be heard. [online] Manchester: Manchester university press, pp.45-55. This implementation of such obvious Intertextuality is used for a number of different reasons, one of which is for comedic effect. Children’s Literature Association Quarterly, [online] 28 (4), 210-218. Intertextuality can be defined as the ways in which texts are interrelated and meanings that arise out of this (The Collins English Dictionary, 2014). In: S. Matrix and P. Greenhill, ed., Fairy Tale Films: Visions of Ambiguity, 1st ed. The audience are introduced to ‘Peter Pan’s fairy ‘Tinkerbell’ and ‘Puss in Boots’ re-inacts the famous scene from, A huge example of a cinematic reference in, However referring to the scene in almost a parodical fashion will make sense to a large part of the audience, without disrupting the original, Sturken and Cartwright (2001pg. 2nd ed. Folk materials, re-visions, and narrative images: The Intertextual games they play. Enter your email address to follow this blog and receive notifications of new posts by email. The Mouse is Dead, Long Live the Ogre: Shrek and the Boundaries of Transgression. The Death of the Author [online]. Supporting Haberer (2007, p61) that “no text exists on its own, it is always connected to another text.”. This is referring to Snow White and The Seven Dwarves whilst making perfect sense in the Shrek The Third Narrative. Barthes argues that writing can often damage every voice and place of origin, being the practice of signification itself and its real origin being the language. Miola (2004) states that the distinctions between these types of categories are not absolute and exclusive but are manipulated in a way that allow them to co-exist within the same text. Intertextuality in Shrek Following its release in 2001, Shrek became an instant hit for fans of all ages. Watch The Princesses Rescue and Fight HERE, Shrek 2, was almost the definition of intertextuality within itself as it not only featured other fairytale characters but just like the other sequels, featured more of everything intertextual: pop-culture parodies, karaoke style covers of pop songs sung by comedy legend Eddie Murphy, and even more references to other media texts. Of Ambiguity, 1st ed Malden, MA: Blackwell Publishing, pp.54-76 address to follow blog...... 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