Animation

inquiry Hameed Khan Topic Animation A way of introducing literary productions and object less(prenominal)on determine to children at adolescence by comparing William Shakespe atomic number 18s crossroads and The lion fagot Animation Long Term Paper on Preparing a Research Proposal Title Animation A way of introducing literature and moral set to children at adolescence by comparing William Shakespe atomic number 18s village and The social lion male monarch Animation . There is no doubt that todays entertainment has lost well-nigh of its touch with the more than kinical influences of its predecessors.However, in mid-1994, Walt Disney Pictures released what could arguably be the best animated feature of on the whole m in The king of beasts mogul. With a moral base unlike most of the motion-picture shows released at the clip, The king of beasts nance placed a childrens facade on a rattling serious story of responsibility and r heretoforege. However, this theme is superstar of the oldest in history, and it is non the least app argonnt in wholeness of the oldest consorts of literature by The Bard himself, William Shakespeargon.The be bring forth that Disneys The lion fagot par onlyels is nvirtuoso former(a) than crossroads Prince of Denmark and the contain shadows this work so closely, that par totallyels amidst the primary(prenominal) eccentrics themselves ar wildly app bent. This very close comparison has led critics to comp are the motion picture to village in the impressiveness of its themes. But with a closer control of the constituents themselves do we get word on the dot how apparent these similarities are.The picture addresses in iodine way or a nonher all of the of the essence(predicate) contemporary dilemmas bravery, responsibility, vulnerability, preparedness, stewardship, faith, science, the importance of history, family and the environment. In these days of personal uncertainty and political cynicism, The Lio n King provides clear moral guidance wrapped up in an socialise and wholesome shell. Introduction In The Lion King, the intent of the two-year-old prince whose vex is murdered is played by a cub named Simba, whose naivety procures him more than his fair share of hardships and troubles.By the acts in the story al hotshot, one justt joint put by dint of that Simba is a direct representation of Shakespeares village Jr. , provided non lone(prenominal) that, each of them shares similar body processs in the play. Interpretations if Simbas actions are as ponderous as Hamlets, particularly of why Hamlet look intoed in autocratic vengeance for his fathers death (Harrison 236). twain Simba and Hamlet Jr. delay their action of retribution for their individual fathers deaths. The loss of their paternal companion provides Hamlet imcredibly melancholy and Simba without a royal teacher and father during his tender years. from each one of them runs from their responsibility, al though intimate themselves they k promptly what essential be done Hamlet renders to validate his suspicions succession Simba hides from his ultimo. However, some necessitate attempted to theorize that Hamlets delay is due to his psychic instability, his madness over the death of his father. Eliot refutes this, calling the characterization a unproblematic r design, and to the end, we whitethorn assume, beneathstood as a ruse to the audience .Simba exhibits this homogeneous fashion, venting his feelings in mournful retaliation against responsibility, most notably when his childhood friend Nala attempts to persuade him to harvesting to the felicitate Lands. This delay between our characters adds a more haunting effect between the two works. Its surprising that todays audiences seat be so excised by themes that were first implemented in literature almost four hundred years before. Similarly, the characters of Hamlet sr. and Mufasa bear a striking resemblance to one anot her(prenominal), not only in their actions, but their meanings as well.Hamlet Sr. , the erst dapple king of Denmark, govern his kingdom in peace and prosperity, evident in the conversations in crook I, Scene I between Marcellus and Horatio about the creations of implements of war in Denmark under the new king, Claudius. Mufasa, too, ruled peace abundanty over the hook Lands, only curse about his son and his responsibilities. But, after their deaths, they each become more than the kings they once were. They become the heralds for their sons, compelling them to avenge their deaths and take responsibility for what their uncles have done. Each deceased king pproaches his son in the same way via an shade that gives a direct, if not opaque, monologue driving their princes to action and each stalk leaves the interpretation of their sums open to their sons. Neither Hamlet Sr. nor Mufasa tell their reckonive sons directly to destroy their murderers, although Hamlet Sr. does name the perpetrator directly, it is Hamlet that decides that action must be taken. It is this direct allusion of one major character with an integral part in advancing the work to another that helps change integrity Shakespeares influence as a writer of big(p) literature.But it isnt just the protagonists that extend to to one another the villains in twain The Lion King and Hamlet foundation be directly and similarly compared to one another. Both prick, from The Lion King and Claudius, from Hamlet, are brothers of the king, murder their sibling to usurp the throne, and take their brothers wife as their queen (There is no direct trial impression of this conjecture for fool, but since scratching calls upon Sarabi, the former mate of King Mufasa, in The Lion King to report on the status of the conceit Lands, it stands to reason that she is Queen of ostentation rock candy. . It is not so much the characterizations of the characters in this instance than the actions that provide proof of how Shakespearean literature draw outs writers today. Claudius, at first, appears satisfied by his deeds, enjoying the manner of a king, parading around to view his belongings, wedding his have brothers wife, and holding banquets in his testify honor, all the while preparing for war with a neighboring Scandinavian country.Scar revels in his ill-gotten spoils as well, allowing his hyannic henchmen to hunt the pridefulness Lands to practical defoliation while he reclines in the prides weaken, tormenting his majordomo Zazu and eating more than his fair share of the kills. Scar, like Claudius, grossly exploits his new-found index and drives his kingdom into war. But here is where the similarity begins to diverge. In Hamlet, we get a line Claudius repenting for his sins against his brother, repealing the fact that he committed that heinous deed and begging pardon from his Lord.Scar, on the other hand, never once doubts his actions, and goes with them to their final conclusion . Scar flat goes as farthermost as to taunt the prince, Simba, has he hangs of the precipice of Pride Rock And now heres my little secret. I killed Mufasa One could argue that the act of confessing to the crimes is an supererogatory parallel between the characters, but their motives for doing so are not alike. Claudius is do an attempt to repent for the sin cast upon his soul, while Scar is bawdily declaring his cleverness over his kind-hearted yet naive brother.With the major characters in both works aside, the similarities between secondary characters in The Lion King and Hamlet are still quite striking. The insight of one work in another is so deep that The Lion King goes as far to allude Hamlets Rosencrantz and Guildenstern with Timon and Pumbaa. A comparison here, if not the sterling(prenominal) comparison, is the fact that both pairs of characters in both works are provided as relief from the briny focus of the stories.Timon and Pumbaa provide a welcome resort from his responsibilities and hauntings of his past by introducing him to the raffish life of Hakuna Matata, while Rosencrantz and Guildenstern allow the audience to know that Prince Hamlet does enjoy a life away(p) of the royal house, mingling with coadjutor scholars-to-be and friends. However, Hamlets friends are charged by his nemesis, Claudius, to buzz off Hamlet before the King on numerous occasions. There is no direct evidence that Timon and Pumbaa are in the employment of Scar, nevertheless, the sidekick pair in The Lion King provide a very similar function, whether they realize it or not.Rosencrantz and Guildenstern are a constant re headlander to Hamlet about the revenge that must be exacted upon Claudius by beingnessness messengers to the mournful prince whenever Claudius needs them to be. By mend Hamlet and announcing that the king wishes to have court with him, they play an authorised map in the foreward progress of the play, and the pop outward spiral of Hamlets sadne ss. Timon and Pumbaa, similarly, at one time attempt to procure their leonine friends past from his memory. Simba falters, at first, his carefree life shattered by the memories of what brought him to the jungle in the first place.But when he in conclusion gives in and tells them when his own father entrusted him too, Timon and Pumbaa laugh uproariously, disbelieving what they hear. But it is this continue of Simbas memory at the prodding of Timon and Pumbaa that moves the story onward, and brings Simbas melancholy back to him. And when the past finally becomes fully clear to Timon and Pumbaa with the arrival of the lioness Nala, they not only attempt to bring Simba to his senses in their own blunt, of not comical, way, they attempt to confront him and obligate him see his past.They fail in this, but they still bring to Simbas mind the events in his childhood, and the pain that it brought to him. Although Timon and Pumbaa had no intention of doing so, they performed the same act of reminding the main character of their responsibility to their father, and to their kingdoms that Rosencrantz and Guildenstern did to Hamlet Jr. Another secondary character to the protagonist and antagonist are the respective queens of each work, Sarabi from The Lion King and Gertrude from Hamlet Prince of Denmark.Each of them are salutaryly complete mirror images of one another, each having the same place in the social hierarchy, impact amounts of index number over their kingdoms, and emotional ties to the main protagonists of the stories. Sarabi is the Queen of Pride Rock, leader of the lionesses since the manage of King Mufasa. Although she is not the reason Scar usurped the throne from his brother, it is a near certainty that she has stayed on as Queen because she is quite adept at her duties. Gertrude, likewise, is adept at her duties as well, although they take on a quite different task than Sarabi.She is mainly for show, for Claudius to own and adorn with his newly gott en wealth. Both Sarabi and Gertrude are Queens, but both show little or no power over their put ins. Sarabi is to the highest degree killed by Scar when she dares to inquiry one of his decisions, which shows the place of the lionesses in the pride pawns in Scars quest for power. Any excursion from being simple huntresses results in pain, and perhaps death at the paws of Scar and his multitude of hyenas. Gertrude, too, never appears to request everyone, although she certainly has the capacity to do so.She instead plays the weakened queen, doing as her husband bids her and plaintively bending to Claudiuss entrust. But even though these similarities are surprisingly close for non-primary characters, it is their emotional connection to their sons that spurns the stories along. Gertrudes espousals to Claudius enrages Hamlet to no end, driving him more and more out of his delay to act upon his fathers death. It is her willinging stopfulness of her former husband that pushes Haml et to the brink, their emotional bail bond that pains them both to ends that he must act on, and she tries profoundly to hide.Sarabi, too, has such an effect on her son Simba. When Nala finds Simba, and realizes that he is not dead, as Scar had said, she is enthralled and wonders aloud about the feelings of his mother. This has a noticeable affect on Simba. He recoils, the responsibility that he believes is his is once again thrust upon him, and the purview of his mothers feelings towards his past deeds sends him further into sadness, furthering the story. And when Simba does return to Pride Rock, he is angry when he sees how Scar is treating his mother, just as Hamlet is enraged at how Claudius treats his mother as well.In a way, it is the queen in each work that adds to the deep melancholy of the main characters and drives them to action. This characterization both reflects and shapes our cultural disposition about contemporary social and political change, dissertation for cefully to the question of who should hold power and how people should acquire it. The movie reinforces hierarchy, especially primogeniture, in nearly all of its 26 scenes, either finished what the characters say, how they are displayed, or both.The message presented at every turn is that we are better take away with our traditional leadershiphip, that those individuals are both wise and benevolent, protecting the health and benefit of all members of the group, even the most vulnerable. At the same time, the movie attacks those outside the traditional group of leaders who rise to power illegitimately, showing us how they are inherently unfit to hold positions of authority and can bring disaster down upon all of us.The Lion King, even though it is an American movie, does not promote what we might have come to think of as American values, those which nourish meritocracy and democracy. Finally, the movie reinforces the submissive and passive role of the citizen. At a time when we might consider democracy to be challenged, The Lion King doesnt build a strong case for inclusion, diversity and broader political participation. In fact, it does just the opposite, rivalry essentially from an aristocratic position for the return to old-fashioned values and maintenance of the status quo.Purpose of Study The main agendum behind doing this query is to highlight the fact that new-made entertainment media is a very powerful source to teach literature and moral values to students when they are at a turning point in life. The time when they learn what life is all about. Although much of modern entertainment may look like new entertainment on the surface, if we probe deeply comely, we can find connections to some of the greatest literature of all time.Shakespeare is probably one of the most influential writers of all time, if not all time, and his greatest works, not special to Hamlet Prince of Denmark, are the infrastructure of umteen stories compose today. His plays are continuously redone and reperformed, his sonnets quoted in many a song and story, his histories the basis of many school lessons, and his influences are more than profound in many cases, and in the case of The Lion King, those influences are the basis of the story, not only of the main protagonist and antagonist, but of secondary characters as well.All these Dramas, Poetry and Stories do impart Value education to children in many ways. I intend to look into on to what extent does entertainment is of any use in teaching literature to students looking forward to take literature as a subject for specialization and of be any use to stay fresh the moral values of these students intact? Review of Literature There has been research on comparison between literature and Animation earlier. But my research mainly deals with the mover that had been left untouched yet, that both Hamlet and The Lion King show similarities in darn and characterization.The cinematic adaptation praye rs to the children as well as the adults. Whereas Hamlet only circles around literature students. Doing a complete outline of the film adaptation gives us a circumstantial structure of what amount of principles and beliefs that influence the behavior and way of life of the early generation can be extracted from this modern media of value education through entertainment and detailed knowledge of how literature can be imagination to students at pre-graduation level. * Hierarchy and LegitimacyScene 1 of the movie depicts all the animals on the African savannah gathering to pay tribute to the new heir, Simba. The lyrics of The Circle of emotional state present life as overwhelming, explaining why we need our traditional leaders Theres more to see than can ever be seen/More to do than can ever be done. . . . /Its the Circle of Life/And it moves us all/Through despair and hope/Through faith and lamb/ bank we find our place/On the path unwinding. One by one, the lively characters a re introduced and their places are identified. Mufasa, the ajestic patriarch, watches from the point of Pride Rock while his devoted subjects gather below for the presentation of his new-born son. Zazu, the horn-bill, appears first and clarifies his role, first as the most-loyal subject by relegateing low, and then as Mufasas trusted advisor, allowing him unusual familiarity with the king, although he always refers to him as sire. While the assembled zebras part and bow down, making a path for Rafiki, the old shaman, he is embraced by Mufasa, treated with the deference and respect usually accorded a societys senior priests.His first action is to anoint the young Simba, to validate him as the heir apparent, and to present him to the crowd assembled below. As in many of the scenes in The Lion King, the music and visuals carry messages as important as the dialogue. In this first scene, for example, in that location is no conversation. Instead the message of class difference is con veyed through the different levels on which characters appear. Throughout the movie, those with power appear in a higher place those who are powerless for example, the most powerful characters are usually up on ledges, and those who are vulnerable are down on the valley floor.Mufasa gazes down upon the mass of animals gathering below him Pride Rock, his throne, is the highest point in the Pride Lands. Camera angle as well tells us about power relationships, close-up for those in power, panoramas and long shots for the mass of undifferentiated animals who have no status. The change in the complexity of the musical arrangement, the drop from a full orchestral arrangement, in which there is little differentiation between instruments, to a instrumental solo as the scene moves from the group of subjects to the mavin important character, identifies to whom we should shift our attention.In this first scene, lest the youngest among us miss all these clues, Simba is highlighted by a sunbe am as Rafiki holds him up before the mass of animals, who then, cued by this natural sign of individuation, howl and stamp their feet in approval and bow down in a mass display of obeisance. The problems of hierarchy, legitimacy, and power are explored in Scene 2 in which Scar is introduced. His first line, and ironically the first piece of dialogue, may be thought of as a basic premise of the movie Lifes not fair, is it? (Much of what currently upsets conservatives are attempts to strike social, political and economic fairness by such legislative message as affirmative action, guaranteed health insurance, easier voter registration, the minimum wage, and a boniface of additional government regulations. ) The scene explores the sources of unfairness differences in physical sizing or strength, differences in lineage or position, and differences in cleverness or intelligence. Obviously, the mouse is vulnerable in this scene because he is small, but he is deliver by a Zazu whose pow er derives initially from his ability to derange Scar.When Zazu is threatened in turn, he is rescued by Mufasa, who just orders Scar to drop the bird. Mufasas authority comes from his position as king, which Scar questions by not attending Simbas presentation, but his power comes, according to Scar, from Brute Strength. Scars power, by his own admission, derives from his brains. nigh critics have argued that Scars emphasis, tone of voice, appearance, movement and word choice (curtsy, shoal end of the gene pool) suggest that he is homosexual, and that his role as supreme villain attests to powerful strains of homophobia in our cultural consciousness.Those who have centre on these features of his characterization point out that Scar rises to power through unnatural means, including deceit and fratricide, and that his administration results in the near-destruction of the Pride Lands and the potential extermination or exile of all the animals. They also point to Zazus sympathetic gabfest to Mufasa that theres one in every family, and lambaste his (albeit mocking) suggestion that Scar be reduced to a useless ornament (a handsome piddle rug) which would permit Mufasa to take him out and beat him . . . henever he gets dirty. Some viewers have argued that this interpretation resides in the eye of the beholder and not in the movie, but cultural critics would point out that texts reflect as well as shape our cultural consciousness and can invoke an audience as well as address one already identified. Adding another dimension to the question of legitimacy, it is curious that although they are brothers, Mufasa speaks with an American accent and Scars is clear identifiable as British (hence illegitimate or abroad in contemporary American society). The Role of temper Scene 3 follows to remind us that Simba is the legitimate heir by virtue of his class and lineage, that he has been presented to his subjects and then anointed in a public ceremony, with the event n ow recorded for posterity in a cave painting (the movies variant of a public record or historical document). What follows (in Scene 4) is another argument for hierarchy and patriarchy, this time derived from nature.In this father-son encounter (Sarabi recedes into the background here women clearly are secondary yet numerous, generally unnamed, and lacking influence in this culture), Mufasa explains how what they own is defined and measured by natural processes (Everything the light touches is our kingdom. A kings time as ruler rises and falls like the sun. ). Just as we can infer from Scene 2 that illegitimate power is unnatural, so we learn here that legitimate power is organic, harmonious, predictable and regular, attuned with the natural order of birth and death and based on respect for all species.The succession, to give-up the ghost in some distant future, is already determined, and in this father-son colloquy, Mufasa emphasizes the orderliness of it all. The movie receives use of our cultural knowledge of nature. There are numerous references to being higher or lower on the nourishment chain, and selection of animals and their characterizations make use of the actual qualities of the animals. The warthog, for example, is an ugly African pig that usually travels in small family groups (much like the trio of Pumbaa, Timon and Simba). They are indiscriminate eaters and often use the burrows created by other animals.Hyenas, in addition to having a weird howl, are scavengers, feeding on the carrion left behind by other animals. steady the weather in this movie reflects what is going on in the fleck clouds stream across the sky when conflict threatens, the winds of change blow when the plot turns, and the sunrises and sunsets flash by in rapid succession to signal the passing game of time. The movie also depends on our knowledge of human victimisation, especially the behavior of the young. The jaunty I Just Cant Wait to Be King (Scene 7) shows just ho w immature and incomplete the young Simbas understanding of the responsibilities of leadership is.To him, preparation for kingship is control to brushing up on looking down and working on his ROAR, and the primary benefits of the job are being able to ignore orders from others, being free to run around all day and do it all his way. Coupled with Hakuna Matata (Scene 14), another bouncy carpe diem number that emphasizes just how alienated from work and his adult responsibilities Simba has become as he drifts around the African plains with Pumbaa and Timon, we can see how unsuited Simba is for the role of king.Even Nala recognizes (in Scene 20) that the older Simba is somehow less mature than she expected he would be, and yet she falls in love with him anyway, restoring the perfect harmony alluded to in the lovely ballad, Can You Feel the fill out Tonight? While a psychological interpretation of the movie would move through these scenes, showing how Simba eventually comes to take his leadership responsibilities more seriously, a cultural analysis finds them more problematic, for these are the songs we hum as we leave the theater and the lyrics we sing under our breath without thinking about the values they promote.The context may be ironic in the movie, but we forget that quickly enough. * The Importance of Borders In Scene 4, Mufasa carefully explains to his son that there is land beyond their authority, an area to the north that Simba calls the shadowy place, and one role of the king is to make sure the borders are not breached. The Pride Lands are economically healthy and ecologically sound in part because the scavenging hyenas (those slobbering, mangy, goosey poachers) are excluded, relegated to the colorless Elephant Graveyard where there is neither sufficient food nor water to sustain them.When they take over the Pride Lands in union with Scar, they destroy the balance of nature and the land withers their presence nearly destroys the entire society. Some critics have suggested that selecting Whoopi Goldberg, Cheech Marin, and Jim Cummings as the voices of Shenzi, Banzai, and Ed, the three speaking hyenas, reflects a variety of racist and ethnic biases Mark Leeper notes, Outwardly the film has a love of African rhythms and language and yearns for a united valet de chambreeveryone but hyenas united.But the core is just a bit ugly and scary. The Pride Lands has, in effect, its own Proposition. While its borders are not impermeable, the hyenas are prevented from any role but that of scavenger. Perhaps Scene 10 (Be Prepared) presents the most troubling picture of the hyenas and their pact with Scar. Set in the hyena cave where it is dark and gray, the scene opens with Shenzi, Banzai, and Ed licking their wounds (both figuratively and literally) after Mufasa has maintaind Simba from their clutches in the Elephant Graveyard.They clearly are out of control Ed is laughing hysterically and chewing on his own back leg, un witting that it is his own, and Banzai and Shenzi are castigating lions in general and boosting their own morale in the process. They are momentarily startled when Scar appears, but unlike Mufasa, he presents no threat to them because he has no real power. Indeed, during this scene he reveals to the hyenas and to the viewers his general plan to kill Mufasa and Simba and assume the throne himself. The songs refrain Be Prepared ironically echoes the Boy Scout motto as hundreds of hyenas, tattle in tight, crisp phrasing and enunciation, goose-step past in tight soldiers formation, fires casting their eerie shadows against the walls of the cave and a crescent moon (looking at first like a hammer and sickle) appearing high above the cavern walls. Obviously Scar views the hyenas as thick, crude and unspeakably plain, with subscript powers of retention and vacant expressions, yet he promises them that if they support him in his efforts to wrest power from Mufasa, they will never go hungry again. Sca r has contempt for his accomplices, even while he enlists their aid. Contrasting these miscreants with the wise, patient patriarch lots the deck. * Religion Not surprisingly, The Lion King makes use of many phantasmal images and echoes, affirming faith and folklore while rejecting science. Beginning with the baptism of Simba in the opening scene, the movie is full of familiar rituals. In Scene 9, for example, just after Mufasa has chastised Simba for disobeying him, he explains the brain-teaser of the stars to his son The great kings of the past look down on us from those stars. . . Just remember that those kings will always be there to lookout you. And so will I. Indeed, Simba repeats this explanation to Timon and Pumbaa at the end of Scene 16 (although Timon translates it into You mean a bunch of royal dead guys are watch us? and dismisses Simbas explanation in favor of his own, that the stars are fireflies stuck up on that big bluish-black thing. ), although he is trouble d by the memories of his fathers promise. After Nala finds Simba and urges him to return to save the Pride from sure destruction, Simba bitterly addresses the stars and his father, You said youd always be there for me. This crisis of faith, in Scene 20, continues until Rafiki forces him to look in the pool where he sees the face of Mufasa emerge from the clouds. Mufasa says sadly, Simba. You have forgotten me. When Simba cries that he is not who he apply to be, Mufasa admonishes him, You are my son, the true king. Finally, after Simba vanquishes Scar and the Pride Lands are consumed by fire and then cleansed by the rains, Mufasa appears again in the heavens with a single word, commend. In fact, Simba has become the savior, restoring the Pride Lands and saving the lives of the animals. Even Christianity seems to support the restoration of The Circle of Life. * Conclusion Of course, this is not the way an allegory of the modern egalitarian and inclusive society should conclude. T he story should end, as Scar implies it will in Scene 12, with the lions and hyenas coming together in a great and glorious future, one in which everyone has enough to eat, a role to play, and an equal say in the governance of the Pride.In the new society, the border between the Pride Lands and the Elephant Graveyard would disappear, the hyenas would be transformed into productive members of a global society, alter their efforts in promoting the welfare of the whole group, and Scar would learn how to be a wise leader, making sure that no one was taxed beyond his or her ability or left needy. Future leaders would emerge from the Pride based on merit, not birth. Some readers will object to this analysis, arguing that The Lion King is a childrens movie after all and shouldnt be interpreted as speaking to adult issues.But what is a childrens movie, if not one that transmits the dominant values of the culture to young children in an entertaining manner, while at the same time confirming those values for adults. This movie addresses an important social issue that affects children, in their schools, churches, parks and neighborhoods. Unfortunately, it suggests that excluding people because their appearance or their heritage or their habits differ from those of the people in power is an acceptable social and political policy, one supported by tradition, history, and religion.The Lion King sugar-coats a bitter and powerful message about patriarchy, legitimacy and hierarchy. supposal On the basis of this detailed analysis, my hypothesis is that The Lion King is a shadowed representation of Hamlet, taking what is presentable to the young minds but enough to interest students into literature. The conclusion I drew out of it is that entertainment is not mere enjoyment but a very powerful and powerful media to spread the teachings of literature among the young minds of future. MethodologyMy research method will include a detailed study of Hamlet text and the movie from every angle related to literature and its appeal to the audience, especially the founding father level students of arts and literature. I will also concern this factor with the respective experts of both fields Literature and Cinema. Research Limitations This study is limited by the study of a single literary text and a movie that resembles the similar plot, characters and moral values. A similar significant phenomenon can be observed in other works too but to study the comparison and representation in detail they have been excluded.Significance As previously given this study will help the future development of literature learning and widen the scope of limited medium of learning. The study is limited to only a single comparison so as to keep the study in detailed spectrum. Tentative Chapterization 1. Introduction 2. similitude between Plot and Characters Tentative plan The Lion King, though very much based on Hamlet, has many different elements that we can make comparisons with S hakespeares work. It begins with the birth of Simba, the young cub of the King, Mufasa. This introduces the importance of the natural cycle.As Mufasa says, We are all connected in the great Circle of Life. The death of one King leads to the rise of another. This is also what happens in Hamlet. Simba is born to be the heritor of the King and he cannot deny his destined role. As a carefree cub, Simba just cant wait to be king, his attitude is quite different from Hamlet, who is also carefree in the beginning of the story, but does not want to be King. Similar to the plot in Hamlet, Mufasas spirit appears to Simba, and reminds him of his duty, and repeatedly tells Simba to Remember him when Simba runs away after thinking that he had caused the death of Mufasa.This is similar as in Hamlet, the Ghost of old Hamlet appears to him and asks his son to take revenge on Claudius. Also there is comparison between secondary characters. 3. small study of The Themes in the movie * Hierarchy and Legitimacy * The Role of Nature * The Importance of Borders 4. Influence of entertainment on Literature learners. Tentative cast A detailed study about how entertainment industry has influenced the younger generations and how it can help to expand the scope of learners of literature around the world. 5. CriticizingThere have been arguments that this kind of cultural analysis in fact, any close analysis at all ruins the entertainment value of the movie, forcing us to confront all kinds of unpleasant truths when we are expecting merely to be entertained. Granted that I see more layers of meaning every time I view the movie or listen to the music or read the script, but I still find the musical score stirring, the animations fanciful, and the antics of Timon and Pumbaa engaging. Just because we become aware of the multiple levels of meaning doesnt mean that we have to deny the aesthetic appeal of this creation.Bibliography Shakespeare, William. Hamlet The bracing Variorum Edition. 2 vols. 1877. Ed. Horace Howard Furness. New York Dover Publications, 2000. Shaw, George Bernard. Shakespeare A Standard Text. Times Literary Supplement. 18 Mar. 1921. rpt. in Shaw on Theatre. Ed. E. J. West. New York Hill and Wang, 1958. Rowse, A. L. , ed. Hamlet. 1978. By William Shakespeare. The Annotated Shakespeare. New York Greenwich nominate, Crown Publishers, Inc. , 1988. Harrison, G. B, ed. The Tragedy of Hamlet, Prince of Denmark. Major British Writers.Harcourt, Brace, & World, Inc. New York, 1959. Adams, Joseph Quincy. A Life of William Shakespeare. Boston Houghton Mifflin Company, 1923. Asimov, Isaac. Asimovs Guide to Shakespeare. 2 vols. New Jersey Random House Value Publishing, Inc. , 1970. Eliot, T. S. Hamlet. Elizabethan Essays. Haskell House New York, 1964. Brandes, Georg. The Classic Tendency of the Tragedy. William Shakespeare, A Critical Study. 1898. Frederick Ungar Publishing Co 1963. Taymor, Julie. The Lion King Pride Rock on Broadway. Hyperion New Yor k, 1997.