A Workshop on Making Deviled Eggs

Reality, meet Fiction.

onceuponatime

Once Upon a Time (2011 - Present)


When I was ten, my aunt's friend scotched my illusory perception of fairy tales. From then on, Little Red Riding Hood was a 17th century French peasant's tale about a prepubescent girl who is led astray by a ravishing male [wolf]; he subsequently violates her in her grandmother's house; and just as he is about to kill her, her father comes to her rescue! All fairy tales seemed to be about confronting one's fears and coming out bruised, but happily not broken.

Hidden in these stories are symbols and significations pointing to some dark truth that can have many meanings when placed in different contexts. I used to find The Little Red Riding Hood most relatable to our time, and so I found the older and darker interpretation of her story more gut-wrenching, and wished then that my emotions translated more literally to the huntsman wrenching the wolf's gut. Instead he put two stones in the wolf's belly as punishment for his sexual transgression! It so happens that this ending is more in line with my current stand against the death penalty, so I am fine with it now!
 
Later, I read The Great Cat Massacre, in which this story was validated, and early versions of other familiar fairy tales were retold. For instance, in the original Sleeping Beauty, Sleeping Beauty is molested by a married Prince Charming and bears him several children, while she is still sleeping! The infants break the spell by biting her breasts during nursing. What a horror that must have been to wake up to! It tells me that the curse was meant to begin after she was awoken! In one version of Cinderella, Cinderella becomes a domestic servant to prevent her widowed-father from forcing her to marry him.

A lot of these stories go back centuries before their supposed authors were even born. Charles Perrault's 17th century version of Sleeping Beauty that we are familiar with, also appeared in an Arthurian romance in the 14th century! Moreover, the same stories were retold all over Europe through centuries, with little to no variations, making it hard to trace their origins.

Fairy tales were mostly written keeping adults in mind, and were never regarded as being suitable for children. Some had to be rewritten several times before they were considered 'debatably' tolerable as "household" tales, and were imparted to children with some horrific details to make moral lessons stick in their minds!

Over time, we have been seeing the same stories taking on new dimensions and becoming representatives of their times! The Disney versions may be indicative of our times being comparatively happier (or censored more heavily, depending on your optimism about our times)! But that too is changing. There are some dark interpretations that are being made for adults!  

Once Upon a Time is a fairly adult series that builds on fairy tales and other fantasy stories from pop-culture, by splitting the universe into several extra dimensions, and having characters travel back and forth between them using magic! It's String Theory reinterpreted as: All things being equal, all fictional stories happening across time and space can be strung together, and re-imagined as one single epic!

Suddenly the retellings of 18th century Germany's Grimm Brothers, 17th century France's Charles Perault, 19th century England's Lewis Caroll, 20th century Scotland's JM Barrie, 19th century Italy's Carlo Collodi, and many more authors from different eras and places magically come together in a fictional but contemporary American town, reminiscent of the Lost world, by way of a curse!

I love that fairy tales have been slowly evolving over time and space and taking on new dimensions. I also love that through Once Upon a Time, their characters are travelling many physical dimensions and interacting with each other in one place. The series is my most favorite adaptation of old fairy tales in this era, followed by James Finn Garner's Politically Correct Bedtime Stories. 

There is also another TV series called Grimm that I followed for sometime, but didn't enjoy as much. It's a cop drama where the cop (a Grimm, with secret powers), goes after some evil characters from Grimm's fairytales (called Wessen) who inhabit the human world disguised as humans! It's a great concept, but followed the same Dr. Who type formula, with one bad character being finished off by the end of the episode.

I watched a French crime thriller called Nobody Else But You (Poupoupidou), in which a crime novelist solves a murder of a young woman who shared several commonalities in both appearance and relationships with Marilyn Monroe, and believed she was a reincarnation of Monroe and predicted her own death! I watched it around the same time that I watched a few versions of Snow White - Mirror Mirror, and Snow White and the Huntsman, and read an account of a German scholar who believed that the story of Snow White might in fact be based on the life of German noble girl in Lohr am Main in 1725. There is also a "Talking Mirror” that is now housed in Spessart Museum in the Lohr Castle, to validate this account!

The line between reality and fiction has always been a blur, but perhaps it is the blur that we inhabit, and true reality and absolute fiction that we seek from the blur! Or maybe, we are all Grimms meant to keep balance between the real and imaginary creatures we live alongside or create.




Pasted Graphic 1

search



Comments

Unseen Dimensions

scottpilgrim

Scott Pilgrim vs. The World (2010)


I wonder what Henri Bergson would have to say about today’s cinema. He had nothing to do with cinema, but even as early as 1906 he anticipated it would influence new ways of thinking about movement. Do you think he could have imagined the likes of Wright’s Scott Pilgrim vs. the World when he said that?

I am reminded of a book that I once read on quantum physics called Warped Passages: Unraveling the Mysteries of The Universe’s Hidden Dimensions. In that, the author Lisa Randall who is a theoretical physicist speculates that there may be 10 or 11 space-time dimensions in the universe (and for all you know fewer or many more)… and that we experience only four because we are not physiologically designed to see those other dimensions.

Should she be right about there being many more dimensions in the world – and should parallel universes, warped geometry and three-dimensional sinkholes be real – it could change everything! Emboldened by our knowledge, we may even be able to impinge on these hidden dimensions and find ways to experience them. In some ways films like Scott Pilgrim vs. the World attempt (even if unintentionally) to do that! But if it was that easy to imagine and simulate a different world, wouldn’t it be that much easier to also realize it?

In fact, what we are doing in quantum physics now is seeing our world the same way Bergson saw cinema in 1906. We are seeing it with wonder, and even wondering hopelessly about that which cannot be imagined, and then wondering more about what it means that we cannot imagine what we wondered about.

But, unlike my kind of loosey-goosey wondering, Bergson’s speculation about cinema turned out to be more than accurate. In fact more so than I think he could have ever imagined. Moreover, if you think of his speculation in conjunction with his other philosophies on reality and intuition, and creativity and laughter… you have what I think is the perfect fodder for a discussion on Scott Pilgrim vs. the World… or any other nested-fantasy film for that matter.

The film has a lot of merit and is brilliant beyond words can express in just the way the plot unfolded and was visually presented. But, leaving that aside, if you consider the random chain of thoughts it triggers in our mind about the nature of reality alone, it still is a treasure trove of delightful reveries.

The other more obvious conversation that the film provokes is about Fantasy. Now that Fantasy has emerged into its own genre of film, one has to wonder if the word has lost its meaning or at least changed to mean something else. Is Fantasy fantasy if we know what to expect? Is fantasy not the expression of our unconscious that reflects subliminal realms of our minds that have been suppressed or repressed? Can we translate the form, structure and rationality of the world of dreams to the world of reality? And can we fantasize with films, the way we can fantasize in our minds?

Lacan would have us believe that fantasy is our conscious articulation of desire through images and stories… but, I wonder if by giving it a standard structure, we are interfering with the process of narrating our unconscious desire the way it wants to be narrated…

He addresses this dilemma by taking into account the many layers of fantasies between filmmakers and spectators that inadvertently cross-feed each other. For instance… the filmmaker perceives fantasy in a certain way, which may be different from the fantasy he creates for the spectators, which each spectator then perceives and fantasizes in their own way, and feed back to the filmmaker, who then re-interprets the spectators’ fantasies only to find that they may be entirely different from his own… but here too the filmmaker’s interpretation of the spectators’ fantasies may be maligned by his own subconscious desires, so he may never really know what the spectators had imagined… just as the spectators may never know what the filmmaker imagined…

To add to this, imagining is an ongoing process that we have little control over, and happens in our mind alongside other activities (including getting lost in the film and become one with it). Our imagination too changes all the time, which means we may all be fantasizing about the same thing differently at different points in time, and even have several fantasies about the same thing running simultaneously in our minds at once, making it impossible for us to articulate them! Moreover, we tend put ourselves in the minds of several people (the filmmaker, the protagonists, the spectators and so on) while also viewing the film as observers or protagonists, making it impossible to know how our various observations overlap or communicate with each other…

This means each spectator has millions of fantasies and there are millions of spectators for each film, making the number of fantasies as numerous as the number of atoms in the air, which again points back to the analogy about quantum physics.

And still everyone is together in this orgy of fantasies on account of a common pursuit, which is the viewing of the film and exploring our subconscious desires through it (and trying to explore the desires of others). We each speak to our own innermost fantasies and feed it to others who interpret it to satisfy their fantasies and so on and so forth. We can’t tell how our fantasies are triggered and how they translate to others desires, since it all happens within the unconscious mind.

That’s where I began and ended with Scott Pilgrim Vs. the World. I saw myself as the voyeur of the story unfolding in front of me, as well as the voyeur of my own fantasy. And what a colorful and spectacular world it was, and how much there was in it to see and be entertained by.

DP8SW4EXWGTA
Comments