Victorian Living Magazine

The Controversial Corset

2009-03-29T14:16:00.001-07:00

By Naz Sra and Donna Ng

(click to enlarge)

A Sesame Street Christmas Carol

2009-03-27T19:11:00.001-07:00

A Sesame Street Christmas Carol

By Ashley Morford

In this version of Dickens’ story, Oscar the Grouch is the character of Scrooge. The puppet who delivers the mail (containing the three Ghosts) is named Marley, thus representing the Marley that appeared to warn Scrooge of the coming of the three Ghosts and his fate if he should refuse to listen to their messages. At the end of the movie, there is a little boy who gives Oscar a can for Christmas. This little boy represents Tiny Tim since he teaches Oscar about giving; Oscar appreciates this gift and is moved to give the little boy a present in return (A Sesame Street).

The Ghost of Christmas Past is a Briton from the Victorian Era who speaks (for example, referring to the washroom as the lavatory) and pronounces words as a Briton would. Other than that, the rest of the show is very modernized. It has all the trappings of a modern day Christmas -- from Christmas lights to televisions and computers.

There was one idea we learned in class which really stuck out to me as I watched this show: the anti-ideology of Dickens, in this case scientific (Charles Dickens). The Victorian Era was a time of scientific development, where science became another religion and England thought that science would change the world (2-4-09). The developments which took place during the Industrial Revolution did in fact greatly impact the world for, without the Industrial Revolution, we would never have the digital revolution -- and it is today’s digital revolution that the Sesame Street movie targets in an anti-ideological way.

The movie holds a pessimistic view of the future of mankind caused by the effects of the digital revolution. Rather than showing Oscar what his future holds in store for him, the Ghost of Christmas Future shows what the Christmas of the future will be like for mankind -- after all, Dickens’ story is not just an analysis of Scrooge but rather is symbolic of man plus society (Charles Dickens). In the future shown by the Ghost, family life has been broken up through consumerism and materialism, and an unwillingness to exert any physical labour; for example, people no longer eat normal food but rather eat meals contained in little capsules, they do not eat altogether at a dinner table, trees come pre-decorated, and people no longer hang Christmas lights. Without any preparations, Christmas is simply commercial. This implies that consumerism and materialism is going to be rampant in our future, and will destroy past and present traditions and aspects which matter most -- family and time spent with loved ones. Thus, the future of mankind is painted in a pessimistic light.

Works Cited

A Sesame Street Christmas Carol. Prod. Jennifer Smith, Dir. Victor DiNapoli, Perf. Caroll Spinney, Joey Mazzarrino. DVD. Sony Wonder, 2006.

Ogden, Stephen. “2-4-09.” English 206 Lecture. Simon Fraser University, Burnaby, BC. 4 February 2009.

Ogden, Stephen. “Charles Dickens: A Christmas Carol.” English 206 Lecture. Simon Fraser University, Burnaby, BC. 14 January 2009.

Steamboy: Steampunk Culture at its Best

2009-02-25T18:29:00.005-08:00

by Mabel Ho

An Overview - Food for Thought

The anime begins in 1863, where scientists Lloyd Steam and his son Edward have succeeded in discovering pure mineral water to be harnessed as an unimaginable power source for steam engines, contained in a ball-like apparatus. However, the discovery is not without a cost, as a horrific accident severely injures Edward. Three years following the incident, Edward’s son – Ray Steam – is caught in the center of a political struggle to attain the third and last “steam ball”. Torn between the O’Hara foundation which Edward sided with and Lloyd’s personal endeavour to keep the ingenuity of science from being extorted for imperial gain, Ray is kidnapped from Manchester, whereupon he briefly encounters the heiress to the O’Haran foundation, Miss Scarlett O’Hara. Subsequently, Ray is forced to witness a series of eye-opening events from both sides of the field. This includes physically removing the ball from both parties at the slightest sign of misuse. Gradually, he arrives at the understanding that no matter whose hands the “steam ball” falls into, the result is never an unadulterated pursuit for scientific discovery and knowledge, but rather a full-blown arms race to further each respective nation. The movie draws to a close with all three balls destroyed in a climactic explosion that claims the gargantuan Steam Tower. The physical veneer of London returns to normalcy shortly after. But with the public eye forever marred with the breath-taking yet destructive power of mechanized science, alongside the forever present desire for imperial wealth and dominance, the portal for science-wrought havoc will never be fully closed.

Questions for Consideration – An Appetizer

As stated in the blog introductory:

Does Victorian Cool offer any sort of critique on the present, in regards to its aesthetics, principles, and technologies?

Does the nostalgia embodied in Victorian Cool suggest an optimistic view or a pessimistic view of the future of mankind?

Prevailing Themes – A Three-Course Meal

1. Gender Roles:

The first subject up for consideration in Katsuhiro’s “Steamboy” deals primarily with softer domestic issues, working from the often ill-credited center of power at home, and influencing its way into masculine-dominated politics of the arena (Ogden). In one scene, Ray reflects back on his mother whom he was kidnapped from days earlier. Scarlett, being the pampered heiress that she is, tartly remarks: “[You’re] a real mama’s boy. Do most kids so want to see their mothers? I’ve got five mothers. The one who cooks for me. The one who buys clothes with me. The one who teaches me. One for when I go riding, and one for bedtime stories. Big deal! I'm not writing to my mothers saying I want to go home” (Katsuhiro). And without so much as a backwards glance, Ray quietly replies that “those aren’t mothers” (Katsuhiro). This is representative of a viewpoint that transcends time eras, be it Victorian or present day. Although a mother is indeed responsible for the listed tasks, there is a childhood instinct that responds to the detachment of these tasks from motherhood, and assigning them to various individuals. In a way, this is a critique on the upper class of any era, in that wealth and prosperity can only reap so many benefits. It also shows the exemplified duties of a housewife through a Steam Punk lens.

Childhood & Doubleness:

Amidst the chaos of heavy machinery and residual fog from thousands of steam-powered engines, a certain silver-lining of childhood innocence manages to pervade the characters and dialogue. During an intense segment of the film, Lloyd and Edward exchange words that touch upon both the notions of doubleness and blissful childhood ignorance (Ogden):

Edward: “Are weapons not part of that, Father?”
Lloyd: “Fool! Science should reveal universal principles, not assist humanity in its folly.”
Edward: “By universal principles, do you mean that children's funfair of yours? What is science for? To make all humanity equal!”
Lloyd: “Equal? Don't abuse that word. All this is meant for profit!”
(Katsuhiro)

The tenets of this argument are later emphasized just as the Steam Tower is about to crash into the river, where Lloyd’s off-beat carnival equipments and rides surface on the exterior of the tower before collision. This paradoxical trait along with the notion of universal equality can in some aspects be traced back to a child-like sense of fair play. The idea that science should reveal universal principles rather than contribute to mankind’s burdens is one that continues to this day, all of which straddles the fence between religious and armed conflicts.

2. The Empire:

Nationalistic pride and the desire to become an irrefutable world power is a subtly sublimated trait of the present, but for all intensive purposes, is heightened and escalates into an arms race in “Steamboy”. The Admiral serving the British Empire in this Steam Punk endeavour clearly announces that “wars are not won by machines,” which then leaves the obvious alternative that it is the quality of a man (specifically implied – British soldiers) which separates victory from defeat. In a decisive moment where Ray escapes the clutches of the Steam Tower and is rescued by Mr. Stephenson who backs the British Empire, he is faced with the decision of whether or not he should surrender the steam ball. So he tests Mr. Stephenson with the question: “Inventions and science, what are they for?” (Katsuhiro) Cautious not to tip the balance of power, Mr. Stephenson assures Ray that “science exists to make people happy” (Katsuhiro). However, as soon as the steam ball is passed into their possession, he adds that “while science exists to make people happy, the basis of that happiness, the nation, must be preserved. There is no happiness without the nation” (Katsuhiro). Similarly, this is a typified critique on nations of today. Although happiness is a universally sought-after sensation, ideals of The Empire and the desire to cling to stability, uniformity and authority quickly becomes synonymous with happiness itself.

Another notable theme is when Lloyd and Ray stumble upon a hidden stash of modified weapons inside the Steam Tower. Here, the subject of warfare and ethics are touched upon and shadowed by the ever-present national agenda as Ray is awe-stricken by the advancements made by technology:

Ray: “What are these?”
Lloyd: “Weapons of war. The devil's handiwork, made to kill men by the thousands.”
Ray: “Golly! This would slaughter an enemy!”
Lloyd: “You young fool! Who's the enemy? Prussians? French? English?”
Ray: “Well, that would depend on the war.”
Lloyd: “Listen to me. Arrogance and self-interest creates enemies in your own mind. Our first forefathers knew neither enemy nor ally. They want to make commerce out of human stupidity.”
(Katsuhiro)

Lloyd’s words attack the very basis of nationalism in an empire, and suggest that all conflicts begin with a faceless enemy whose features are carved distinctly by the tenacity of a nation’s personalized agenda. It is a controversial undercurrent that can be related on one platform or another to most modern-day warfare. An example of creating commerce from warfare can be found in the business of selling war bonds during either of WWI or WWII, and the creation of new job opportunities at munitions factories.

3. Technology & Science

There can be no doubt that technology and science constitute the backbone to the main thematic devices used in “Steamboy”. The most ostentatious quotation taken from the anime in this field, that “from risk comes progress” (Katsuhiro), is a belief that is reflected in numerous segments of dialogue that re-emerge frequently throughout the film. A commonality that this Steam Punk anime shares with the modern pursuit of scientific advancement and knowledge is the hope that “man will be freed from long, hard labour and will prevail over even nature’s greatest disasters” (Katsuhiro). Much like the invention of the wheel, the initial use was to increase the mobility of heavy loads. Only later on did the concept turn to chariot wheels for deliberate warfare.

But technology and science often teeter on the slim divider separating clinical detachment for the purpose of advancing in the field from moral and ethical considerations, all of which are elements drawn heavily upon by religious institutions. In one scene where Edward is dramatically poised on the terrace of his Steam Tower, he curtly informs Ray that “science isn't an occult art like alchemy. It’s not secrets for the use of the well-born, deep in their palaces and churches. Science exists as a power to be used in reality. What use is it, if not for everyone? The entire world awaits its blessings” (Katsuhiro). In a metaphoric sense, Edward has polarized science and religion with its ethics in two separate places on the spectrum. It creates a sense almost where an individual can have one or the other, but never two at the same time. The association of religion and other “unscientific” endeavours to members of the upper class and nobility signifies the rift between the classes during the Victorian era, and highlights how science was proposed as a mediator to bridge the gap and become universally applicable for all members of any caste. At present, science and technology does indeed transcend nearly every boundary regarding class. On the other hand, Lloyd is ardent in informing Ray that Edward is “a fool who's sold his scientist's soul to capitalists,” and that “an invention with no philosophy behind it is a curse” (Katsuhiro). Imminently, it appears to blend what began as two opposite beliefs. This suggests that even up to this day science must be taken with a grain of salt, that being some measure of ethical consideration, to prevent becoming a vessel for imperialistic gain.

Past Meets Present – Dessert

To address the main questions specifically on the introduction of the blog, Victorian Cool does indeed offer a critique on the aesthetics, principles and technologies of the present. It carries forth certain timeless qualities embedded in gender roles, childhood simplicity and the latent theme of doubleness in its execution, and proposes solutions to remedy the voracious appetite of an expanding empire and its subsequent desire to further itself technologically and scientifically. In regards to nostalgia, “Steamboy” specifically exaggerates the situation and technology so as to demonstrate an extreme circumstance where science has breached its boundaries of normalcy to create a catastrophe. With that, the intention is to create an aversion to extreme actions shown in the anime, so that we can learn from our mistakes before we even begin to make them.

Works Cited

Steamboy. Dir. Katsuhiro Otomo. Sony Pictures Entertainment, 2005.

"Steamboy Script - transcript from the screenplay and/or Katsuhiro." Drew's Script-O-Rama: free movie scripts and screenplays, baby! Ed. Drew. 20 Mar. 2009. http://www.script-o-rama.com/movie_scripts/s/steamboy-script-transcript-katsuhiro-otomo.html.

Ogden, Stephen. English 206 Lecture. Simon Fraser University, Burnaby, BC. 2009.

The Widespread Cultural Popularity of Victorian Literature

2009-02-25T18:29:00.003-08:00

by Heidi Tauriainen

The Golden Age

Just as the nineteenth century is considered the Golden Age of children’s literature, I think the late twentieth century could be defined as the Golden Age of teen literature. Some of the children’s books written in the Victorian era were forebears of this new phenomenon that would emerge years later. Books like Oliver Twist, Tom Brown's School Days, and Little Women paved the way for later teen fiction that would deal with their own era’s difficulties and trials. Although there was a multitude of books that teens could read and enjoy in the Victorian era, books weren't published specifically for adolescents as they are today.

The Victorians were very interested in children and childhood. Child psychology was a newly popular subject and many books were written for and about children. Questions about the meaning and nature of childhood were posed: "What was so special about that period of life? Were children born in original sin and thus in need of perpetual training and vigilance in order to ensure the salvation of their souls?Or were they born in a state of innocence, only gradually to be sullied through initiation into adult cares?" (Henderson, 1819). Poems, short stories, and books were written about this special and brief time of a person's life to entertain and morally instruct children, but mostly to explore the significance of childhood and the realms of the imagination.

Adolescence and the culture of teens became prevalent in the sixties and seventies, along with advertising targeted towards teens. It is not surprising, then, that literature began to be written for and about teens and the issues they deal with. What Victorians wrote for children and what the late twentieth century saw in terms of increased teen literature content is vastly different. And it should be different, because childhood and adolescence are very different stages in a person’s life. One of the most notable and groundbreaking novels in the teen market was written in the early 1950s, a novel called The Catcher in the Rye by J. D. Salinger. Its use of accurately crude language and brutal honesty about the condition of the adolescent echo Rudyard Kipling’s style: colloquialism, disregard for offensive content, and a real feel for what the protagonist is going through. Although it was written with an adult audience in mind as a sort of nostalgic portrayal of adolescence (hence the mature language) it struck a chord with teens, and it was soon evident that there was a real marketability in that area of fiction. And from there the genre just grew and grew. S. E. Hinton, a teen herself, wrote The Outsiders, another highly acclaimed and popular teen novel. It was significant in that it was less nostalgic in tone. It was written by, about, and for teens, three things never before converged.

The Victorians didn’t hesitate to introduce topics like death and disease in children’s literature. Oliver Twist, for instance undergoes harsh tribulations as an orphan. They were, however, less willing to address issues like sex in regards to a young adult. Issues like sexual awakening were not addressed explicitly in the literature of the Victorian era. Considered an edgy topic, this is one that would be addressed in the much-needed genre of teen fiction that emerged in the twentieth century. Other "taboo" topics include suicide, abortion, rape, and drug use. The most commonly posed argument concerning portrayals of controversial topics in teen novels is whether its purpose to encourage, instruct, or warn teens. The most important difference between Victorian literature for children and modern books for teens is the tone: the former is much more didactic. The latter usually leaves the reader making a judgment for him/herself. And perhaps this is what makes good teen literature that much more hard-hitting: the reader is left to make a choice.

Victorian Trends in Modern Literature

The Victorian literati were fascinated by the idea of nonsense prose and poetry. This is the idea that the author can basically create original meanings at the lexical and syntactic level while still maintaining validity. Examples of works from this era are Lewis Carroll’s poem "Jabberwocky" (original words) and Swinburne’s "The Higher Pantheism in a Nutshell" (seemingly nonsensical and irrelevant ideas).

Everyone is familiar with the "mad scientist" character type. He’s a genius, but he’s not all there. This is the perfect model of the idea of nonsense. Sometimes in novels there is this kind of character, echoing this Victorian trend. In the modern children's book, Harry Potter and the Philosopher’s Stone, Professor Dumbledore welcomes the students back to school with the following four-word speech: “Nitwit! Oddment! Blubber! Tweak!” While the words are real, the combination of them, and the context he is using them in, is absolutely incongruous. Harry asks a fellow student if their headmaster is mad, to which the student answers that he’s mad all right, but a genius nonetheless. Isn't the poet or author who uses nonsense in a clever way also a sort of mad genius?

The Bodice Ripper Phenomenon

What is it about the Victoria era that makes it appear again and again in those mass paperback romance novels? Why are women the world over fascinated by the possibilities of a world known for its restraint and hidden sexuality? As Stephen Ogden lectured, the power of the woman is private (anima) while male power is public (soma) and the former is in more control than the latter, despite appearances. Nowadays, sexuality is very open and pervasive. We are bombarded with images of men and women exposing themselves and it seems to be the norm to openly discuss sexual matters. Sex is dominantly male-ish in that sense. So why is the Victorian era such an ideal setting for romance novels? What’s so sexy about a world where women are not legally considered people and the Queen herself announces motherhood as a necessary burden? The answer lies in the recognition of the female’s natural command of private power. This power includes sexual power. The clothing and attitudes of the Victorian ladies present a subtlety to the gentlemen. They have no need of exposing themselves to the whims of men. By keeping their sexuality cloaked in subtlety, they hold that power indefinitely. The modern woman may grow tired of the current ways of the world, and by reading these types of novels experiences a more female sexuality.

Works Cited

Dickens, Charles. Oliver Twist. 1838.

Hughes, Thomas. Tom Brown's Schooldays. 1857.

Alcott, Louisa May. Little Women. 1868.

Salinger, J.D. The Catcher in the Rye. 1951.

Hinton, S.E. The Outsiders. 1967.

Henderson, Heather & William Sharpe. "Perspectives: Imagining Childhood." The Longman Anthology of British Literature: The Victorian Age. New York, NY: Longman, 2003. pp1819-1858.

Carroll, Lewis. "Jabberwocky." The Longman Anthology of British Literature: The Victorian Age. Ed. Heather Henderson and William Sharpe. New York, NY: Longman, 2003. p1812.

Swinburne, Algernon Charles. "Higher Pantheism in a Nutshell." The Longman Anthology of British Literature: The Victorian Age. Ed. Heather Henderson and William Sharpe. New York, NY: Longman, 2003. p1328.

Rowling, J.K. Harry Potter and the Philosopher's Stone. Vancouver: Raincoast Books, 2000, c1997.

Ogden, Stephen. English 206 Lecture. Simon Fraser University, Burnaby, BC. 4 February 2009.

Gotham City: Victorian Style

2009-02-25T18:29:00.001-08:00

by Flavia Kajoba

Plot Summary

This novel is a combination of two stories in one, Gotham by Gaslight: An Alternative History of the Batman, and its sequel, Batman: Master of the Future. They were published in 1989 and 1991 consecutively. The first story is an exploration of the genesis of Victorian Batman. It explains the motivation behind his transformation, as well as the steps he takes in order to prepare. The villain in this story is the 19th century serial killer, Jack the Ripper, transported from London, England, to the streets of Gotham City. After avenging his parent’s death, the reader sees Batman re-evaluating his intentions. In the second story, he is put up against Alexandre LeRoi, an insane altruist whose mission is to teach the citizens of Gotham City a lesson about the consequences of industrialization.

Setting

The events of the novel take place in Gotham City, May to October of 1889. There are many buildings, the streets are paved, and horse and buggy is the main method of transportation. The only pollution depicted is that which comes from the smokestacks of Steamliners and the chimneys of residential houses. In Gotham City, men and women dress in traditional Victorian attire and their preferred forms of entertainment are dinner parties, boxing tournaments, and fairs and expositions. Prostitution in the novel is also present.

Themes

Gothic Horror and Penny Dreadfuls – Jack the Ripper is a notorious serial killer from Whitechapel, London, England. He preys on unsuspecting women, whom he surgically dismantles, and is infamous for his disjointed letters, and the mailing of victims’ body parts to the police department (Augustyn et al.).

Gender – Due to their characterization as victims in the novel, women are portrayed as vulnerable and in need of male protection, while men are depicted as strong, powerful, and courageous. This can be seen with the hero, Batman, and the villains, Jack the Ripper and Alexandre LeRoi (Augustyn et al.).

Science and Discovery – Gotham City is burned by Alexandre LeRoi and his solar-powered laser beam (Augustyn et al.).

British Empire – Gotham City is having a fair to usher in the turn of the new century. Alexandre LeRoi is against it because he believes that the people of Gotham City do not think about the consequences of their actions. There are direct references in the novel to pollution and the threat of Global Warming (Augustyn et al.). This relates to the British Empire because in the 1800s, they were so concerned with technological progress that they did not think about the future, in regards to the welfare of the planet.

Industrialization – Gotham is a boisterous and developed city. In regards to industrialization, there is mention on Pg. 65, by Alexandre LeRoi, of Gotham city’s “dream of engines that befoul the air and factories that ruin [their] waterways” (Augustyn et al.). Other than that, there is not much evidence of construction or mechanization, besides the machines that the villain uses (Augustyn et al.).

Technology - There are a lot of fantastical technological devices such as: mechanized machine guns, a robotic pilot, a blimp equipped with a solar-powered laser beam, and a glider that floats on hot air (Augustyn et al.).

Language – The novel is written to sound aesthetically Victorian in its manner of speech.

Historical Accuracy

Jack the Ripper was an actual serial killer in London during the 1800s. The letters he sent to the police department, and the method in which he murdered his victims in the novel, concurs with historical records describing the investigation (Ryder and Johnno). In addition, on pages 4-5 of the novel, there is reference to Dr. Sigmund Freud and his psychoanalytic theory, which he developed during the 19th century (Heffner). The styles of dress, methods of transportation, forms of entertainment, and architectural designs are all accurate. While in part two of the novel, the technological advancements are entirely fictionalized (Augustyn et al.).

Works Cited

Augustyn, Brian, Michael Mignola, P. Craig Russell, and Eduardo Barreto.
Batman: Gotham by Gaslight. DC Comics: New York, NY., 2006.

Heffner, Dr. Christopher L., “Sigmund Freud.” 8 August 2003.
Sigmund Freud in Psychology Biographies at ALLPSYCH Online.
7 March 2009. http://allpsych.com/biographies/freud.html

Ryder, Stephen P. and Johnno. “Introduction to the Case.” 2009.
Casebook: Jack the Ripper. 7 March 2009.
http://www.casebook.org/intro.html

The League of Extraordinary Gentleman

2009-02-25T18:28:00.000-08:00

by Flavia Kajoba

Plot Summary

At the end of the Victorian Era, the British government decides to create the League of Extraordinary Gentlemen: a group of solitary individuals with unusual talents, employed to protect and defend the British Empire. The members consist of: Ms. Wilhelmina Murray (a secret service agent with a sordid past), Allan Quatermain (an opium-addicted explorer), Captain Nemo (a rebellious Indian pirate), Dr. Henry Jekyll & Mr. Edward Hyde (one man with two identities), and Hawley Griffin (a sardonic man of invisibility). Their current mission is to stop Professor James Moriarty from taking over the world.

Setting

The events of the novel take place in London, England, the summer of 1898. London is infested with dirt and grime: sewage runs freely in the streets, while heavy pollution clogs the water and air. Poverty and drugs are prevalent, and prostitutes are numerous.

Aesthetics

The women in this novel are drawn as big bosomed and small waisted, thereby accentuating their feminine beauty and sexuality. Round edges are used in their faces, in contrast to the sharp, rectangular lines used in the men’s. Throughout the text, there are religious and patriarchic symbols, such as the decorative crosses drawn on the public monuments. The illustrations are bold and colourful, with great attention paid to details in the landscape.

Literature

The novel refers (by character name) to various 18th century stories in English literature such as: The Strange Case of Dr. Jekyll & Mr. Hyde, The Adventures of Sherlock Holmes, The Adventures of Dick Donovan, Twenty Thousand Leagues Under the Sea, Moby Dick, The Invisible Man, King Solomon’s Mines, The Murders in the Rue Morgue, The War of the Worlds, The Palliser Series, The Warden, The Yellow Room, Robur-the-Conqueror, L'Assommoir, and Dracula.

Themes

Gothic Horror – Ms. Wilhelmina Murray’s character is based on that of Mina Harker, the heroine of Bram Stoker’s Dracula. She wears a red scarf because her neck has recently been bitten (Nevins).

Gender - The character of Ms. Murray is representative of the emergence of Feminism. While she is more than capable of demonstrating her strong leadership skills, the male members of the league scrutinize her decisions because she is a female. During violent scenes, the authors also advise the female readers to avert their eyes, implying that women are frail and innocent (Moore et al.). This conflict between men and women in the novel signifies that, in the 18th century, society was struggling to come to terms with the women's suffrage movement.

Science and Discovery – The Cavorite is invented, a gravity-defying levitation device (Moore et al.). This is representative of how the Victorian period was a time of discovery and innovation.

British Empire – An England of an alternate reality, there exists a bridge between England and France called the Channel Causeway (Nevins). This is representative of how Victorian England had a constant eye to the future.

Industrialization – There is a lot of construction and everything seems to be mechanized (Moore et al). This is representative of how, in Victorian times, there were increased innovations in science and technology.

Technology - There are a lot of fantastical technological devices such as: a squid-shaped submarine, a flame-throwing harpoon gun, a gravity-defying levitation device, gas-powered war-kites, and an aerial canon (Moore et al.).

Historical Accuracy

This is a futuristic realization of England, so all the demonstrations of technology, science, and industrialization in the novel, are completely unrealistic. However, the novel falls into the category of Victorian Cool, so the clothing and demeanor of the characters, as well as, all historical references and analogies to literature, happen to be true (Nevins, Moore et al.).

Works Cited

Moore, Alan, Kevil O’Neil, Ben Dimagmaliw, and Bill Oakley.
The League of Extraordinary Gentlemen. Vol. 1.
America’s Best Comics: La Jolla, CA., 1999.

Nevins, Jess. “Notes on League of Extraordinary Gentlemen #1.” 10 March
2002. Notes on League of Extraordinary Gentlemen #1. 26 January 2009.
http://www.geocities.com/ratmmjess/league1.html

Barbie: Another Manifestation of "A Christmas Carol"

2009-02-25T18:27:00.000-08:00

Barbie in A Christmas Carol

By Ashley Morford

In this version of Dickens’ story, Scrooge is represented through the famous opera singer and theatre company owner Eden; Marley is represented through Eden’s cold-hearted and cruel Aunt Marie; Bob Cratchit is represented through Eden’s friend and employee Catherine; and Tiny Tim is represented through the orphan Tammy (Barbie).

The movie is set in Victorian England, and what stuck out to me as a historically accurate representation of the time period is the hairstyles of the characters; for example, Eden has her hair set in ringlets, and one of her employees has a Thomas Henry Huxley beard.

We learned in class that Dickens believed in an innate human goodness located in each individual. We looked into the teachings of Freud, who introduced the idea that the true person is hidden and disguised, and is based on their past (Charles Dickens).This theory is clearly shown throughout the Barbie movie. Never once do the three ghosts lose faith in Eden’s innate goodness, even when she outwardly appears to be unaffected by the visions they reveal to her. They realize that her true feelings towards the visions -- sadness, horror, and the realization of her selfishness -- are hidden within her psyche. They know that Eden is really a good person and that she will be moved to change her ways.

Dickens’ three ghosts take Scrooge on a journey: into his past to show his trauma, into his present to show how warped he has become, and into his future to show his existential crisis (Charles Dickens). The same is true in the Barbie movie. Eden’s journey into her past reminds her of the trauma she experienced during her childhood because of her Aunt’s unbending rules and cold heart; her journey into the present shows her how much her employees detest her and how she has wrecked the holidays for each of them through her selfishness; and her journey into the future reveals the existential crisis she is destined to face -- poverty, a loss of fame, and the corruption of her friend Catherine’s loving heart.

Just as Dickens’ tale is an artistic criticism of materialism, so too is the Barbie version of the story. Eden can be considered a “materialist” since she is a person who lives for personal possessions and the obtaining of her own comforts, not worrying about others and never thinking about sharing her abundant wealth (Charles Dickens). As she was taught by her Aunt Marie: “In a selfish world, the selfish succeed” (Barbie).

But not only does this movie critique the materialistic nature of Eden, it also warns of where our consumerist society is headed in the future. Eden’s friend Catherine is known for being kind-hearted and generous. However, as Eden looks into the future, she sees with horror that Catherine too becomes obsessed with self-gratification, fame, and material possessions. No longer does Catherine worry about anyone else, no longer is she willing to reach out and help those around her -- in fact, once Catherine becomes rich and famous, she is not willing to share any of the wealth she has obtained. This shows that nobody is immune to the follies of our society and culture, which is money hungry and constantly makes us think that material goods are the key to happiness. In this movie, the future reveals that even those who are currently generous and giving will become selfish and materialistic. This definitely does not shed a good light on the future of mankind.

One of the main ideas which stuck out to me throughout the entire movie was the role of the female in Victorian England. The entire Barbie story is dominated by independent, young, and successful women; for example, Eden owns and runs a theatre company without relying on a man. In fact, the only two men in the story have minor roles and are seen as whimps. The women are the ones who are in control. In some ways, this is inaccurate of the time period since middle- and upper-class women were not supposed to work and, for the most part, men were the ones in control while women obeyed them. Also, men were commercially-minded while women were domestically-minded, unlike in the Barbie story, where Eden -- a woman -- owns her own theatre company (The Sexes).

However, the Barbie story also made me think of Sarah Stickney Ellis and her writings from The Women of England: Their Social Duties and Domestic Habits [The Influence of Women]. Ellis’ work presents the idea that woman’s power is infinite and transcends time (Victorian Vibrancy); and throughout the Barbie movie, women are presented as powerful, successful, and in control without needing any help.

Works Cited

Barbie in A Christmas Carol. Prod. Anita Lee, Dir. William Lau, Perf. Leanna Araya. DVD. Universal Studios, 2008.

Ogden, Stephen. “Charles Dickens: A Christmas Carol.” English 206 Lecture. Simon Fraser University, Burnaby, BC. 14 January 2009.

Ogden, Stephen. “The Sexes at the Intersection of Culture and Class.” English 206 Lecture. Simon Fraser University, Burnaby, BC. 23 March 2009.

Ogde, Stephen. “Victorian Vibrancy: the Sexes at the Intersection of Culture and Class.” English 206 Lecture. Simon Fraser University, Burnaby, BC. 25 March 2009.