Oedipus Rex; a Film Narrative Analysis

Oedipus Rex; a Movie Narrative Analysis

Film 251 Story Analysis 28/2/13 Oedipus Rex; A Narrative Analysis A story that has been examined from a lot of angles can be hard to bring brand-new light to, however Oedipus Rex, or Oedipus the King is structured by Sophocles in such a way regarding make it really stand the test of time. Such a work of Aristotelian Catastrophe, by definition, is driven mainly by its plot.

Though such strong characters such as Oedipus might appear simple or disconnected from a more modern story, comprehending the order and hierarchy of Plot, Character, and Style (or Idea, as Aristotle translated it) is necessary for the audience to understand the structures and conventions of a well-designed narrative. Oedipus Rex stemmed from an already popular tale at the time it was drafted, and though it is frequently the subject of research study in the Canadian education system, not all modern audience members might recognize with the tale.

That being said, there is little cause for issue, as the complexity and familiar conventions of contemporary film and other storytelling have actually given audiences a point of view that helps them in quickly anticipating the result of the story. The audience can rapidly recognize the flaws in Oedipus’ egotism and excellent personal power, to name a few things. Although one may miss out on the foreshadowing of Oedipus’ name meaning “swollen foot,” one may still quickly recognize and predict the downfall of the mighty king.

He looks for so non-stop and handles such absolutes that it becomes clear that Oedipus will be the one that the Oracle predicted is the reason for the pester. Through large stubbornness, Oedipus neglects the warnings given to him by the other characters, and in doing so he makes it rather obvious that it is fate that manages his fate, not his own will. This ‘hamartia’ is something important to Oedipus (the exemplary awful character in the high mimetic mode), and it serves to depict not only the type of character he is, but likewise the thought that is behind his actions.

In Aristotle’s mind, these two things are linked. Their own choice and action is what makes up a character, and though he speaks little of theme, Aristotle does explain the methods which a character’s speeches should provide insight into the inner workings of their decisions. Oedipus is bound by pride and confidence, and in bringing forth his own death the audience is made to understand the limits of free choice and the power of fate. The narrative of Oedipus Rex is created in its totality with the underpinning of this idea of inevitability.

Though some audience members may grumble at the entertainment worth of a thing so straightforward and concrete, the only thing missing out on is for one to stop trying to look for surprise meaning or modern referral, and appreciate the nuances of a story so well structured and informed. The more contemporary categories of Drama and Melodrama are rooted in this foundation of disaster and its catharsis, and frequently they are built on ideologically or morally driven interpretations of the classical tragedies (those of both the Renaissance and Antiquity).

In understanding the kind upon which numerous modern-day tales are constructed, one can truly value the radiance of the solid nature of Oedipus the King. Bibliography Letwin, David, Stockdale Joe, and Stockdale Robin. The Architecture of Drama: Plot, Character, Style, Genre, and Design. Maryland: The Scarecrow Press, Inc, 2008. 38. Print. Filmography Oedipus Rex (1968, TV episode (the Third of Sophocles’ Theban Plays, 16 sept, 1986, dir. Don Taylor with Michael Pennington, John Gielgud, and Claire Flower, UK, 111min)

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