An analysis of Shakespeare's "A Midsummer's Night's Dream" and Gary Winick's film "Thirteen Going on Thirty".
Written in 2009; 1,490 words; 4 sources; MLA; $ 49.95
Paper Summary:
The paper examines the film "Thirteen Going on Thirty" and the play "A Midsummer's Night's Dream" and shows how, in both works, the intervention of the supernatural improves the world, making it temporarily disorderly in a human way only to bring it back to a greater state of moral order at the end. The paper brings out how the use of the supernatural convention of affection or body switching makes the viewer question how truthful his or her own affections are towards a beloved and how much age really matures the inner, wounded adolescent soul. The paper concludes that although these works are fantasies and comedies, the lessons they teach are sobering.
From the Paper:
"Both Shakespeare's play "A Midsummer's Night's Dream" and the director Gary Winick's 2004 film "Thirteen Going on Thirty" might be classified as romantic comedies, despite the fact that one was authored during the 17th century, and the other during the 21st century. "A Midsummer's Night's Dream" dramatizes the various narrative complications that ensue when a group of humans in a romantic triangle accidentally finds their way into the path of a group of fairies in a similar war of the sexes. However, in its own fashion, "Thirteen Going on Thirty" likewise uses the supernatural as a means of escapism that teachers the viewer. Fantasy and what takes the viewer out of the realms of the natural does not mean that the lessons that are learned are inapplicable to the world outside of the story's frame. Instead, the intervention of the supernatural in the form of fairy dust is used as a kind of heightened, metaphorical realism."
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