Fantastic View of Jimmy's Neutron

Jimmy's Neutron


Summary:

At home, Jimmy has inventions to brush his teeth and comb his hair. During show and tell at school, he unveils a device that will shrink people, and inadvertently shrinks his teacher, who is attacked by the worm in her apple. Jimmy also has a communicator capable of picking up signals from space, and becomes convinced he has been contacted by an advanced civilization. "I don't care how advanced they are," his mother says. ''If your father and I haven't met them, they're strangers." A crisis strikes. Alien spaceships suck up all of the adults in town. At first the kids celebrate, but after eating too much popcorn and candy and drinking forbidden coffee, they're as green in the morning as the lads on the Island of Lost Boys in "Pinocchio." Jim-my enlists the other kids in an expedition to find the alien planet and rescue the parents.
Their space travel is conceived by the filmmakers in a way that is not only charming but kind of lovely. Jimmy converts some of the rides in an amusement park into spaceships, and we see a Ferris wheel, an octopus ride and a merry-go-round journeying across the field of stars. In another inspired conceit, they stop for the night on an asteroid, build a campfire, and frighten one another with campfire ghost stories.


Analysis:

Jimmy Neutron: Boy Genius is a fantasy about a whiz kid inventor who, with the help of his friends, must rescue all the parents of his neighborhood from the clutches of malevolent space aliens. While there’s nothing new here story-wise, producer/writer/director John A. Davis, producer/writer Steve Oedekirk, and animation director Keith Alcorn, load the film with a lot of cool inventions (a shrink ray, a robot dog, a soda that guarantees one burp per sip) and some funny moments involving Jimmy (voiced by Debi Derryberry) and his classmates. Primary among them is the asthmatic Carl Wheezer (Rob Paulsen) and the smart-alecky Cindy Vortex (Carolyn Lawrence). Together, the kids connive to rocket off to another planet and turn their egg-shaped foes to slime: one method involves slapping a pair of headphones on an alien and blaring The Go-Gos at full volume.

But as a whole, the film lacks the quality of story, character, humor, and animation that we’ve come to expect in the seven short years of computer-animated film history. Davis and Oedekirk try to inject some warmth into the tale by having Jimmy overcome his diminutive size, realizing that his mind is what really counts (pay attention kids: there’s a message there), but the character development feels contrived and takes a backseat to the rapidly paced plot. This plot does its best to entertain with a constant barrage of wacky antics concerning kid empowerment (they’re saving their parents, after all) and peppered with slapstick humor that is often of the gross-out variety (boogers, burps, slime, and flatulence). 
Sources: http://www.rogerebert.com/reviews/jimmy-neutron-boy-genius-2001
               http://www.popmatters.com/review/jimmy-neutron/

Deconstruction Analysis of Design

Design
by Robert Frost

Summary:
In Frost's first stanza, which is a group of lines in a poem, the speaker opens by describing a white spider hunting a white moth on a heal-all. The heal-all is a flower with medicinal properties. The flower holds the moth, but nothing can stop the dark forces of nature, or in this case, the hungry spider. When the speaker mentions the witches' broth, Frost implies that darkness lurks everywhere. Humanity, according to Frost, is as unprotected as the moth on a flower and as dangerous as the spider. 

Analysis: 
The poem begins with a simple setup—the first three lines introduce us to the main characters. We have a big white spider on a white flower, poised to eat a white moth. The speaker sees this bizarre little albino meeting as some weird witches' brew, as all three are brought together for some awful reason.
That observation leads the speaker to a series of questions: Why is this flower white, when it is usually blue? What brought the spider to that particular flower? What made the moth decide to flutter by right then?
Frost concludes that if it were "design" that brought these three together, it must be some pretty dark design. In other words, it's not a comforting thought to think that God went out of his way just to make sure this moth got eaten. But that's the crucial "if" of the last line: if design does govern these small things. (What if—gulp—there's no design at all, and everything in life is just totally random occurrences?) The reader is left with just as many questions as Frost. This short poem takes a simple little thought and pushes us all the way to questioning the very nature of creation and life as we know it.






Sources: http://www.shmoop.com/design-robert-frost/summary.html
               http://study.com/academy/lesson/design-by-robert-frost-summary-theme-analysis.html

Post-modernism Analysis of Moulin Rouge

Moulin Rouge


Summary:

           In the Summer of Love (1899), young, impoverished British writer Christian (McGregor) arrives in Paris, France to be a part of the Bohemian Revolution, in which writers, musicians, artists, actors, and others gathered to let their voices and work be heard. Some Bohemians living at Christian's hotel noticed his talent. That night, he was to go to the Moulin Rouge (a nightclub, dance hall, brothel, and later theater) to try to persuade its owner, Harold Zidler (Broadbent), to approve of him writing the show. Little did Christian know that he had to recite his modern poetry for Kidman, the most beautiful of all the courtesans in the Moulin Rouge. Meanwhile, Kidman wrongly thinks that Christian is the Duke, the man she was to seduce that night. Later, Kidman finds out who Christian is. They immediately fall in love. However, they must hide their love because Kidman cannot fall in love with any man. The Duke eventually becomes crazy, trying to force Kidman to seduce him. To top all the troubles, Kidman finds out that she is dying from tuberculosis. She was going to elope with Christian, but Zidler persuades her to stay, claiming that the Duke will kill Christian, if she sees him. Kidman unwillingly forces herself to tell Christian she hates him. However, Christian refuses to believe her. The opening night of the show, Christian returns secretly to the Moulin Rouge, as the Duke's "man servant" was guarding the theater. Christian then appears with Kidman on stage by accident. He tells the audience that he hates her, and he leaves the Moulin Rouge sadly. The Duke thought he won, but at that moment, Kidman stood up and sang her secret love song with Christian. Christian joins in, and they forgive each other. Driven by jealousy and greed, the Duke tries to shoot Christian. However, he fails. The audience goes crazy, thinking that this is all an act. When the curtain fell, they were on their feet and clapping. Everything was going so well, or Christian thought. Right before curtain call, Kidman coughed up blood again. She died in Christian's arms.

Analysis:

 Baz Luhrmann film " Moulin Rouge " ( 2001) in the context of post-modern and oriental stylistic device in literature and film is by Strictly Ballroom ( 1992) and William Shakespeare's Romeo and Juliet ( 1996) , the last work in Luhrmann , Red Curtain Trilogy ' . The focus is on the nature of the story or the narrative form , and not primarily on their content . Moulin Rouge linked elements of American musicals of the 40s and 50s with European chart Hits of the 1990s and narrative techniques from Bollywood films. The main character, Christian, plays with postmodern and post-structuralist phenomena such as intertextuality , multiple narrative levels and the self-reflexivity of the characters and the story. The film is loud, colorful and hectic kitsch or art , or both remains a matter of taste .

 

Sources: http://allreaders.com/movie-review-summary/moulin-rouge-6434

            http://www.amazon.com/Postmodern-Oriental-Elements-Moulin-Rouge/dp/3863411447