Tag: HAR: Metamorphosis/Transformation

  • The Cat in the Hat. Dir. Bo Welch. DreamWorks Pictures. 2003

    The Cat in the Hat. Dir. Bo Welch. DreamWorks Pictures. 2003

    It’s fun to have fun but you have to know how! So, when up-tight, control-freak Sally, and born-to-be-wild child Conrad are left at home for the day, Welch’s reimagining of Seuss’ eponymous, anthropomorphic, wisecracking Cat in the Hat makes it his mission to show them how to enjoy themselves within the bounds of their constraining,…

  • The Cat in the Hat. Dir. Bo Welch. DreamWorks Pictures. 2003

    The Cat in the Hat. Dir. Bo Welch. DreamWorks Pictures. 2003

    Bo Welch’s 2003 interpretation of Seuss’ eponymous, anthropomorphic The Cat in the Hat throws the human exceptionalism paradigm into full-blown turmoil as Mike Myers embodies a character that takes on various socially specific, “human” roles all whilst staying in character as Cat. Though it is not unusual for a film of this genre to depict…

  • I’m Thinking of Ending Things. Dir. Charlie Kaufman. Netflix. 2020.

    I’m Thinking of Ending Things. Dir. Charlie Kaufman. Netflix. 2020.

    “There’s just something… ineffable. Profoundly, unutterably, unfixably wrong here.”

  • Kubo and the Two Strings. Dir. Travis Knight. Laika. 2016

    Kubo and the Two Strings. Dir. Travis Knight. Laika. 2016

    Figure 1: Kubo lifted in the air by wings made of origami birds. Kubo and the Two Strings follows a boy whose life is made even more extraordinary when a perilous adventure, which his mother has tried to save him from, accidentally finds him. Kubo can tell stories using the magical music of his shamisen…

  • An American Werewolf in London. Dir. John Landis. Universal Pictures. 1981.

    An American Werewolf in London. Dir. John Landis. Universal Pictures. 1981.

    “The wolf’s bloodline must be severed; the last remaining werewolf must be destroyed. It’s you David.” An American tourist, traumatised and alone wakes up in a London hospital after an attack on the Yorkshire Moors. His newly cursed body drifts between human and wolf as his deceased friend haunts him in limbo, telling him he…

  • Song of the Sea. Dir. Tomm Moore. StudioCanal. 2014

    Song of the Sea. Dir. Tomm Moore. StudioCanal. 2014

    Song of the Sea is full of magic, mystery and mayhem. Ben, a ten year old Irish boy, discovers that his mute sister Saoirse is a selkie. After Saoirse’s true nature is revealed, her father, blinded by fear, retaliates and hides the coat that enables her to transform. This separation causes Saoirse to fall ill.…

  • Porco Rosso. Dir. Hayao Miyazaki. Studio Ghibli. 1992.

    Porco Rosso. Dir. Hayao Miyazaki. Studio Ghibli. 1992.

    Porco Rosso follows a former fighter pilot who abandoned the Italian military, transformed into a pig, and becomes a bounty hunter that fights pirates. One day he meets American pilot Curtis who was contracted by pirates and is in love with Porco’s friend Gina. Curtis realises Gina loves Porco despite him being a pig and…

  • Spirited Away. Dir Hayao Miyazaki. Toho Company Ltd. 2001.

    Spirited Away. Dir Hayao Miyazaki. Toho Company Ltd. 2001.

    Miyazaki’s 2001 Spirited Away, blurs the binary of human, animal, mythology, and spirit. Each character has its own version of this intersectionality, creating different presentations of ontology that in turn create varying perceptions. The film encourages us to reflect on how our own perceptions of fear in cinematic animal species are moulded through the presentation…

  • Porco Rosso. Dir Hayao Miyazaki. Studio Ghibli. 1992.

    The cinema scene in Porco Rosso tells us a lot about how stereotypes are assigned onto animals through media to serve specific agendas, in this case they are largely political. The pig on screen is portrayed as a villain, but certain similarities make it impossible not to draw connections between the pig onscreen and Porco.…

  • Ginger Snaps. Dir. John Fawcett. Motion International.2000

    Ginger Snaps. Dir. John Fawcett. Motion International.2000

    “B, I Just Got The Curse” In his direction of the initial werewolf attack in Ginger Snaps (2000), John Fawcett repeatedly frames close shots of the creature’s bloodied snout and teeth as it savages the central character, Ginger. These close shots lead to what I argue is a reinterpretation of the lycanthrope, wherein the werewolf…