Art 211 Madama Butterfly Response
The animation is a spectacle to look at. It changes the scenery in artful movements, almost as if the originally set, which takes place on a grassy hill, is just a dream. Madama Butterfly is well constructed, built out of clay and mechanics. Her stringy hair movement adorably sways in the imaginary wind, and her clothes, which are made out of rags. There must be a reason why the animator wanted her to look like this, versus, the opera where she is an actual geisha in a kimono, whereas, the military man is just a ken doll. I believe he wanted to symbolize a curious innocence within Madama Butterfly.
He partakes this story in a very interesting way. He starts it off with the two meeting and all of a sudden connecting without any thought. In the original Madama Butterfly, he originally wanted to take a Japanese wife, he ends up taking Cho-Cho san as his wife, who is, in a sense, Madama butterfly. In the animation, he mates with her and then leaves, as if he was either to never come back, or come back soon. In the midst of her waiting, she realizes she is pregnant. I don't know why the animation would use a fish as a means of life, but may be that was the point. The fish could symbolize a lot of things, but 'life' was the one he chose, or perhaps he meant to emphasize evolution.
As the child grows up, the symbolic kite reference paints a picture. I believe that she was tied to her child because her child was her everything. Her child, I think, is a reminder of the man she loves. So the child is attached to her hip may be because she simply did not want to let her go, because if she did, she would have lost apart of herself. When her lover comes back, she sees that she is with another girl, and in the car is the symbol of who he really was. In the car was other children he took, a black (possibly African), native American, and etc. When he took the child, she perpetually had nothing left, so she took herself apart like a mechanic. In the original Opera, she had killed herself with her fathers knife. I think the animator made her take herself apart because that's exactly what she felt like, she felt like everything was stripped away from her.
He partakes this story in a very interesting way. He starts it off with the two meeting and all of a sudden connecting without any thought. In the original Madama Butterfly, he originally wanted to take a Japanese wife, he ends up taking Cho-Cho san as his wife, who is, in a sense, Madama butterfly. In the animation, he mates with her and then leaves, as if he was either to never come back, or come back soon. In the midst of her waiting, she realizes she is pregnant. I don't know why the animation would use a fish as a means of life, but may be that was the point. The fish could symbolize a lot of things, but 'life' was the one he chose, or perhaps he meant to emphasize evolution.
As the child grows up, the symbolic kite reference paints a picture. I believe that she was tied to her child because her child was her everything. Her child, I think, is a reminder of the man she loves. So the child is attached to her hip may be because she simply did not want to let her go, because if she did, she would have lost apart of herself. When her lover comes back, she sees that she is with another girl, and in the car is the symbol of who he really was. In the car was other children he took, a black (possibly African), native American, and etc. When he took the child, she perpetually had nothing left, so she took herself apart like a mechanic. In the original Opera, she had killed herself with her fathers knife. I think the animator made her take herself apart because that's exactly what she felt like, she felt like everything was stripped away from her.
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