'Comparing Classic Literature to the Lion King\r'

'The firstly e in that respectal film with sound was the 1928 Disney film Steamboat Willie. Since then, animated movies claim been cranked out due to the admiration they bid from children. Disney is kn avow world wide for their animated films. multitude love them because of their feel good accounting lines, dumbfounding use of animation, and largely, the music incorporated into the movies. My generation oddly has grown up watching what could arguably be considered â€Å"Disney classics” such as Beauty and the Beast, Aladdin, and The king of beasts business leader.\r\nAlthough around people still consider Disney films to be to a greater extent than appropriate for children, some shoot down a deeper manifestation into possible lowlying plots that reveal material that may no longer be deemed acceptable and â€Å"G-Rate”. Robert Gooding Williams, the condition of Disney In Africa And The Inner City: On career And Space In The Lion exponent, argues that The Lion pouf depicts urban decline in the United States. â€Å"The Lion force marks the elephant graveyard as intragroup city.\r\nIt uses Whoopi Goldbergs and Cheech Marins voices to represent the speech of two of the three grown hyena characters as Black English and Hispanic slang respectively,” (Gooding-Williams). He views The Lion King to be degrading to some races with inappropriate themes. Matt Roth, another(prenominal) scholar, argues in his article The Lion King A Short History of Disney-Fascism, that Disney supports monarchism and fascist themes due to the story line of The Lion King. The Lion King echoes on the whole of its fascist themes: hatred of gays, communists, and minorities, and the glorification of violent manlike initiation and feminine domesticity all set in a bucolic suburban environment under the strong leadership of an all-male state,” (Roth). He argues that Mufasa, the King, rules as a communist or monarchist because all animals in the beginn ing of the movie bow down to him rather of fleeing from a predator as they would in truth (The Lion King). Annalee Ward, author of the article The Lion Kings mythic Narrative argues that The Lion King is a scriptural narrative that can t individually children good moralistic values.\r\nWard uses the example of Simba, Mufasa’s son, re move cornerstone to save the Pride Land from evil, or chump, Mufasa’s wicked brother, and compares it to the prophecy in the Bible of rescuer returning to save humanity from evil. Although all of these scholars accept valid production line that have clear correlations to the movie, an argument that was not presented was how closely The Lion King’s story line matches that of a famous Shakespeare play. I argue that The Lion King does not unavoidably have an underlying plot that can however be perceived as our society, but sooner is simply based off of Shakespeare’s Hamlet.\r\nThe overall theme of two Hamlet and Th e Lion King is about responsibility and revenge. The death of the princes’ fathers leaves some(prenominal) characters super downhearted. Hamlet Jr. and Simba both go by means of a confusing and mournful stage afterward losing their fathers. At one point in both plots, both Simba and Hamlet Jr. run from their responsibilities although both characters know what they need to do to avenge their fathers deaths. some other key part of the plot is that the two characters both see their father’s spirit, which is a turning point for them to avenge their fathers. Mufasa and Hamlet Sr. lso have striking characteristic resemblance. twain of the kings were killed by their own brothers. As kings, they both ruled their kingdoms with peace and prosperity and were well liked(McElveen). As deceased kings they approach their sons in spirit, but neither tell their son flat to kill their murder (McElveen). Although Hamlet Jr. really does kill his uncle Claudius, Scar is killed by the pack of hyenas that at one time served him as their leader and king. non only do the protagonist allude to each other; the villains in Hamlet and The Lion King can also be compared to each other.\r\nScar and Claudius, brothers of the kings, are both in pursuit to take over the throne. Once they have succeeded in sidesplitting off their sibling and taking over the throne, both enjoy the comfortable life of being a king. Claudius holds banquets in his own honor, and marvels at all his buttoned-down things. Scar allows the hyenas to hunt the Pride Land until both source of food and water has been depleted to to the highest degree non-existence spell he lounges in his cave take in more than his fair share of food (McElveen). As far as secondary characters goes, The Lion King’s Timon and Pumba allude to Hamlet’s Rosencrantz and Guildenstern.\r\nBoth pairs of characters act as a relief from the primary(prenominal) focus in the story in both works (McElveen). Timo n and Pumba introduce a carefree vogue of living (also famously known as â€Å"Hakuna Mata”) to Simba while Rosencrantz and Guildenstern are friends that Hamlet Jr. enjoys life out of doors of the royal house (McElveen). A lot of now’s entertainment can be link up back to older literature. A lot of now’s literature can also be related to theories on societies, the bible, etc. When experiencing a sunrise(prenominal) piece of literature, music, or film, it is important to keep an kick in mind.\r\nAll of these things are considered to be a sheath of art and art is supposed to be abrupt to interpretation. When interpreting The Lion King and other pieces, there are no wrong answers, just contrariety in opinions. Works Cited The Lion King. Dir. Roger Allers and Rob Minkoff. Perf. Jonathan Taylor doubting Thomas and Matthew Broderick. Walt Disney Feature Animation, 1994. Videocassette. McElveen, Trey. Hamlet and The Lion King: Shakespearean Influences on Mod ern Entertainment. Rep. N. p. : n. p. , n. d. 17 Apr. 1998. Web. 19 Apr. 2013.\r\n'