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Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem. The analysis will be majorly centered on Tim Burton’s movie and will count many scenes and still examinations. Some points will nonetheless be made about the original text and the first movie adaptation (1971) as a way to reinforce or contrast Burton’s own interpretation. Key Words: Fairy Tales, Burton, Dahl, childhood, family, morality, Wonka, Charlie, greed, father, subversive, liminality. Le but de ce mémoire de fin d’année est de montrer dans quelle mesure Tim Burton joue avec les codes du conte de fée dans son adaptation du roman de Roald Dahl Charlie et la Chocolaterie (1964). L’analyse se portera donc sur les caractéristiques du genre avec une attention particulière portée sur la morale. L’étude de différents thèmes incontournables du conte de fée comme l’enfance, la famille et le sentiment d’appartenance, permettra de montrer à quel point l’adaptation de Tim Burton remet en question les codes du genre en offrant aux spectateurs une vision plus Tim Burtonesque et subversive du conte, où les choses ne sont pas aussi bien définies qu’elles en ont l’air. L’analyse se portera presque exclusivement sur le film de Tim Burton et sera composée d’études de scènes et d’images provenant du film. Le roman et la première adaptation cinématographique (1971) seront néanmoins utilisés afin de renforcer et contraster cette argumentation. Mots clés : Conte de Fée, Burton, Dahl, enfance, famille, moralité, Wonka, Charlie, cupidité, père, subversif, liminalité. ACKNOWLEGMENTS I would particularly like to thank my Supervisor, Mr Achouche, for helping me write this dissertation. Thank you for always encouraging me and believing that I would do something great. Thank you for the interesting conversations we had on cinema and sharing your passion with me. I would like to thank Cristina Massacracci, one of my teachers of Film Studies that I had last year in London. Thank you for guiding me when I was overwhelmed with stress and questions, thank you for advising me on my topic and always offering your help even if I was no longer officially your student. I also would like to thank my family and friends who had to cope with my very stressful self, my moments of doubts and discouragement, but also for showing interest in my subject and believing in my capacities. A special thank you to my many readers Stella Rofi, Raphaelle Sabouraud, and Sari Imai to have read my hundred pages even if you had a very busy life and taken the time to give me interesting feedbacks on my work that allowed me to make it better. Finally, I would like to thank my father for reading to me every night when I was a child and introducing me to the world of Roald Dahl. And to my loving grandmother who took me to see Charlie and the Chocolate Factory at the cinema when I was ten, and, without knowing, introduced me to a fantastic movie director that I had the greatest pleasure working on these past few months. TABLE OF CONTENTS INTRODUCTION .......................................................... 1 1. CHILDHOOD: LITERATURE AND CINEMA ...... 9 Childhood and Children’s Literature ............................................................ 9 Fables .......................................................................................................... 11 Fairy Tales ................................................................................................... 12 The Influence of the 18th Century Vision of Childhood on Children’s Literature 14 Subversive Children’s Literature: Entertainment and Morality .................. 16 Walt Disney ................................................................................................. 18 Steven Spielberg ......................................................................................... 23 A Unique Thematic and Aesthetic Signature .............................................. 28 A Subversive Take on Fairy Tales .............................................................. 34 2. CHARLIE: A TRADITIONAL FAIRY TALE ...... 43 A Fairy Tale Atmosphere ............................................................................ 43 Time and Space ........................................................................................... 44 The Hero’s Journey ..................................................................................... 44 Flat Characters ............................................................................................ 46 A Manichean World .................................................................................... 47 The Quest for the Self and for Home .......................................................... 48 Violence and Fear ....................................................................................... 49 Magic ......................................................................................................... 51 A Happy Ending .......................................................................................... 52 A Modern Tale Serving a Cautionary Purpose ........................................... 52 Augustus Gloop: The Obese Child ............................................................. 55 Veruca Salt: The Spoiled Rotten Child ....................................................... 58 Violet Beauregarde: The Over Competitive Child ..................................... 61 Mike Teavee: The Video Game Addict Child ............................................ 63 Hero and Identification ............................................................................... 68 Charlie is the Embodiment of Self Restriction ........................................... 69 Charlie is Obedient, Passive and Pure ........................................................ 71 Charlie Values Family ................................................................................ 74 3. CHARLIE: A FAIRY TALE BEYOND TRADITIONS ........................................................................................ 78 a. Willy Wonka: A Product Between Fiction and Reality: Dahl and Burton . 78 i. The Terrible Father Figure ...................................................................... 79 ii. Childhood: Stage of Tension and Fear .................................................... 80 iii. Escape Found in Creativity and Art ........................................................ 83 b. Wonka’s Traumatic Education Turned Him into a Liminal Character ....... 85 i. Spatial Isolation ....................................................................................... 86 ii. Physical Alienation .................................................................................. 87 iii. Behavioural Alienation ............................................................................ 87 iv. Stuck in Time: Child or Adult? ............................................................... 90 a. Wonka: Need for a Substitute Family ......................................................... 97 b. Willy Wonka is a Paradoxical Father Figure: Santa or Father Whipper? ... 99 c. Wonka as Charlie’s Role Model, Mentor and Spiritual Father ................ 103 d. Charlie as the Responsible Adult Figure and Wonka’s Adoptive Father.. 106 The End of the Quest: Family and Home to Become Adult ..................... 109 CONCLUSION ........................................................... 114 WORKS CITED ......................................................... 118 FIGURES………………………………………………132 INDEX………………………………………………….134 INTRODUCTION It seems rather unlikely to meet anyone nowadays who would not have heard, read or seen a fairy tale. Indeed, being thousands of years old, fairy tales have gradually established themselves as a canonical genre loved by young and old alike.
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