Shrek lives alone in his swamp. He believes he should have to live alone as he is an ogre. When the town’s people come after him with pitch forks aloft to try and detain Shrek he acts meticulously like the traditional ogre threatening to “grind your bones for my bread”. The mood of the villagers turns from raucous to stunned.Shrek then tells the visitors” this is the part where you run”. After the villagers have fled the area shrek returns to his house. Almost like an actor who has just come off stage or finished his shift as if his part as ‘traditional ogre’ has finished for the now. Throughout the scene a low angled camera shot is used to emphasise the height difference between the villagers and Shrek in the film when the fairy tale creatures turn up at his swamp. He continually makes the point that it is his swamp; he needs no one else there. Seemingly always trying to impose loneliness and isolation upon himself. He makes a grand speech which appears to inspire the unwelcome visitors that have gathered at his swamp, although in his eyes he just wants his own way and his swamp back. When the cheers from the crowd arise and two birds pull a cape over his body he refuses to be praised for his words and refuses to acknowledge the possibility that people like him.
We see further evidence of Shrek thinking he has to act like his stereotype and further evidence of his insecurity is when he first meets Donkey.
Donkey comes inside but Shrek orders him immediately to go outside as if to say what you think you are doing I am the only one who is allowed to live here. Donkey does not at all seem phased by Shrek’s attempts to scare him. He cracks jokes and makes light hearted conversation. “Man you need some tic tacs.” Every attempt Shrek makes to scare Donkey seems to fly over Donkeys head. Continually Donkey proceeds to annoy Shrek, but even though Shrek asks donkey “what am I”. As if to say why you aren’t scared? Donkey does not appear to be deterred away from Shrek at any point. This is the first part in the film where we properly see Shrek’s character, not as the traditional ogre without feelings. When Shrek and Donkey are talking to one another, the camera angle changes from being low down when Shrek is speaking to Donkey (looking upwards from Donkey’s point of view) to high up when Donkey is speaking (Shrek looking down on donkey). This again emphasizes how big Shrek is compared with other characters found in the film. And also informs of the relationships between various charters and Shrek.
When analysing the prince, the character who (traditionally) heroically rescues the princess, he who has looks that would melt the hardest heart and the stature of a stallion, we come across a complete contrast to this traditional prince. In the first scene in which we are first introducing to Lord Farquad.It is in his torture chamber. The castle is dark and gloomy instead of traditionally the castle having a fell of warmth and grandeur. When he is torturing the gingerbread man the camera is looking down on the gingerbread man, he comes across as an evil strong and powerful prince. But soon it becomes apparent that Lord Farquad, the supposedly powerful stallion - like prince is actually incredibly small. This adds a huge element of comedy to his character hardly threatening to the main characters of the film. Although lord Farquad only has sub role in the film he creates the plot. Without him the story would take place. He creates the storyline from his own decicions.From when he sends the fairytale creatures to the swamp, when he chooses the princess Fiona for example. Lord Farquad comes across as very vain and insecure. For instance when he is choosing his princess lazily lounging in his boudoir eating grapes and admiring himself. He wants all the benefits of being Lord but cannot be bothered doing deeds to obtain them. So instead sets out to find someone else to do it for him, he is very hard hearted and stubborn. When the mirror tries to tell Lord Farquad about the issues with the princess he has chosen, Farquad threatens the mirror as in his eyes he has seen what he wants already. He wants it his way always. His incentives for rescuing the princess are not pure but he doesn’t care. He represents what a lot of people would associate with a person they know in power who manipulates their power; they can relate with the character. For example the office boss that gets good results but also takes all the credit. However without them the office would not survive. This is the same with Lord Farquad without him the story would no take place.
The princess is chosen to be rescued by the prince or rather than the gallant prince risking life and death to save her. Unlike most fairytale feminine roles she has a pretty average name, not an elaborate name such as Repunzel or snow white just Fiona. After Shrek and Donkey’s eventful journey to the tower in which she is captured after the pair have fought off the dragon she hears them coming up the tower ,she quickly gets in to her ‘position’ laid elegantly on the bed with eyes closed. She is expecting her rescue to run like the traditional fairy tale script. At the beginning of her characters introduction to the film she appears to conform to her traditional role as princess. Using fairy tale idiom such as ‘remove your helmet sir knight’. When Shrek abruptly rescues her and when she realises that he has not slain the dragon and this has ruined her fairy tale rescue. She still says she is thankful for her rescue although it was not how she had pictured it. ‘Although a little unorthodox I must admit’
She does not seem to be too bothered as to the style of her rescue. Still fantasising that her rescuer is the handsome prince of her dreams. It is then when Shrek reveals his true identity she demands to be taken back to the tower until she is rescued by her “true love’ and her fairytale ending can be fulfilled. She does not realise that Shrek is to be her true love and that the pattern of a traditional fairy tale will be executed partially - the rescuer falling in love with the captive. Only bothered about saving his swamp shrek hoists Fiona on to his shoulders and carries her at first kicking and screaming to Dulock. Constantly throughout the journey she tries to convince herself that she can still eventually have the fairy tale ending defending Lord Farquad when Donkey and Shrek belittle him. Half way along the journey they are hijacked by a gang of Robin Hood and his men .To add another element of comedy to the film the creators of make the gang overly camp and feminine. This is a pivotal point where Fiona shows she is not any old weak and defenceless princess. She fights against the men with strength and power in karate style and manages to defeat all of them. This is the point where Shrek first notices Fiona in a new light. And where we as an audience come to realise another character who does not hold the stereotypical qualities of their traditional role. This generates her into a more likeable character and a better representation of women today and a complete opposite of how women were seen to behave in the days of fairytale.
Although Donkey does not have such an obvious role to play in the film, he helps effectively to emphasise the changes of Shreks character as most of the development of Shrek’s character happens in Donkeys Company. He becomes Shreks first proper friend and helps him develop his character through starting to help Shrek believe that he isn’t just an ugly scary ogre. Although generally Shrek seems annoyed by Donkey most of the time he is greatly influenced by him especially where his love interests lie.Shrek is a strong headed character and the part Donkey plays is vital in showing the transition of Shrek’s character from an insecure bad excuse of a traditional ogre to being a self accepted character.
I feel that presentational devices play a huge role in the film ‘Shrek’. Lighting is used in the film to suggest the mood of the scene. When Fiona and Shrek are together they are often pictured by the sunset, indicating a romantic atmosphere, or on a sunny day, appearing to be content as they have a good relationship. They are never pictured in a gloomy surrounding. The presentational devices also portray the relationships of the other characters. When Shrek is cross with Donkey the camera looks down at Donkey and vice versa. When Shrek is sitting alone, he has his back to the warmth of the fire. The camera shot is also from behind, as if he is cut off from the audience, creating a mood of loneliness and sadness. The lighting clearly indicates again the mood of the character. The end scene and final shot of the film is that set in a traditional Fairytale. A great magical light is used letting us see that however unconventional the tale of ‘shrek’ is it is still a fairytale. Displaying how a fairytale is possible with out all of the traditional gender and character roles.
The reversals of roles and changes of stereotypical roles are what make ‘shrek so different to any traditional fairy tale, without losing the magic and core themes of a traditional fairy tale.
The characters are humorous and each fulfils different roles to that in which they have previously. Eventually Shrek stops pretending to be something he is not and realises he does not have to be the traditional ogre but whoever he wants to be. The princess is revealed as a ‘tough cookie’ and the price is a laughable character that could never fill the boots of the traditional prince. Literally.
The presentational devices used in this film seem to have an equal influence on the audience and affect humour, suspense, action scenes and the interaction of characters. Subconsciously different presentational devices affect how well the plot is comprehended by the viewer and have control over the likeability factor of the characters. The presentational devises effectively show how the prince is evil and the ogre is good. With such a strong plot and great presentational devices this is why ‘Shrek’ has been so successful with all ages. It offers the rebirth of fairytales and a totally fresh outlook on fairytales in a humorous and entertaining manner.
