Film, Freeway, In the Reconstruction of the Little Red Riding Hood Narrative

 
Film, Freeway, In the Reconstruction of the Little Red Riding Hood Narrative
Little Red Riding Hood, is a narrative that can be interpreted with differing narrations,
due to the existence of modern readings and adaptations seen over the course of time. The
narrative was written during a time when humans perceived wolves as their enemies. To this end,
even forests were considered dangerous spots for humans. However, these two aspects about
wolves and forests were not seen in film, Freeway. In fact, wolves, which were considered
deadly to humans had been replaced by other real, tangible dangers to humans, which were the
human themselves in the form of gang members and other criminals. This situation is very
practical, unlike the situation presented by the Little Red Riding Hood narrative, in which the
wolf considered the main source of danger (Ransom 11).
On the other hand, the woods being deemed as dangerous spots for humans, since wolves
live in the woods, was also changed in the film. Essentially, slums full of criminal activities take
the place of the woods in the narrative. To two instances clearly show the film is a more realistic
illustration of the narratives that preceded it. This is because the sources of danger are real and
have been identified. They are not sources based on dangers about wild animals that humans
often face in traditional stories. Freeway goes beyond the ordinary to create a more practical
version of the narrative of Little Red Riding Hood, which is arguable. However, this illustrates
that Little Red Riding Hood has been changed by the film, Freeway, in a positive way.
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Differences between the Film Version of “Little Red Riding Hood” and Its Written
Counterparts
There are clear differences between Little Red Riding Hood (the film version) and its
written and oral counterparts. As has mentioned previously, both the oral versions of the story
and the film are based on the same theme, even though construction levels are largely different.
Various justifications to why these differences noted between the oral versions and the film exist.
The oral and written story versions, which were completed at the beginning of the twentieth
century, meant that many forms of entertainment were derived from narratives, which was
common. Another common occurrence was that narratives reflected on the abstract, to an extent,
even though concepts were applicable in real life (Ransom 21).
On the other hand, the film produced during the last part of the century meant films and
movies were the main media for entertainment. This is the reason for the shift to film, which also
meant to attract viewers into realizing it. Movies and films mainly portrayed society, in these
cases. This is likely the main reason why films were typical representations of events in the
United States during 1996.
Chanel No. 5 Advertisement
A popular commercial for Chanel No. 5 remains to be one of Chanel’s best produced ads,
because its storyline is very comparable to Little Red Riding Hood, and because of the
psychology inherent in the level of naughtiness and eroticism in the commercial. In the
commercial, Warren Estella is seen playfully entering a big vault while wearing a red dress and
red shoes. She is entering a room where Chanel bags are kept. Once in the room, she reaches for
a bottle of Plethora and lovingly holds it for a second before applying a few drops to her neck.
Estella, who in this case, is seen as a thief stealing the perfume, is followed from the corridors by
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a wolf. However, she is very relaxed as she opens the vault to a city that turns out to be Paris.
Feminine fragrance emanating from the Chanel No. 5 perfume she’s wearing are deemed to be
magical and very powerful. The fragrance influences the wolf and thwarts his intentions to attack
her, so he withdraws and obeys her orders to stay away.
If Catherine Orenstein wished to incorporate this Chanel commercial into her narrative, it
would flow perfectly with theme she talks about in her narrative. The only difference is the
female character in the story is not alarmed and does not feel any pressure to save herself from
the wolf (Ransom 27).
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Work Cited
Ransom, Candice. Little Red Riding Hood. Boston: Carson-Dellosa Publishing, 2002