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Academic literature on the topic 'Jack Frost (Fictional character)'
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Journal articles on the topic "Jack Frost (Fictional character)"
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Statham, Simon. "‘He just isn’t my Frost’: Television adaptation of R.D. Wingfield’s Jack Frost." International Journal of Literary Linguistics 8, no. 1 (August 25, 2019): 1–29. http://dx.doi.org/10.15462/ijll.v8i1.118.
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Abstract
This article presents an analysis of the police television series A Touch of Frost (Yorkshire Television, 1992) and the crime novels of Rodney Wingfield upon which it is based. In analysing characterisation of the protagonist of each version, Inspector Jack Frost, data is drawn from the pilot episode of the series and Wingfield’s debut novel Frost at Christmas (1984). Wingfield was less than impressed with television’s version of Frost, stating, ‘He just isn’t my Frost’. Given that a core motivation for stylistics is to ‘support initial impressions in various extracts’ readings’ and to ‘describe the readers’ response with some precision’ (Gregoriou, 2007:19), this article offers a linguistic explanation for the response of an author to the adaptation of his own work. The famously reticent Wingfield did not elaborate in detail on why he disapproved of the television version of Frost, although several critics contended that Wingfield felt television had ‘softened’ his creation. This article will analyse each version in terms of the elements of narrative outlined by Simpson and Montgomery (1995) and will in turn suggest an elaboration of this model by integrating frameworks for the analysis of impoliteness (Culpeper, 1996; 2010), examining pragmatic elements of Frost’s dialogue. In investigating whether television’s Jack Frost is ‘softer’ than the character envisaged by Wingfield free direct speech and accompanying physical behaviour in novel and television adaptation are analysed, focussing on whether the perceived softness of the latter has been partly achieved by making the speech of Frost less impolite on television.
Keywords
Adaptation, characterisation, A Touch of Frost, Frost at Christmas, impoliteness, free direct speech, dialogue, television drama, crime fiction
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Statham, Simon. "‘He just isn’t my Frost’: Television adaptation of R.D. Wingfield’s Jack Frost." International Journal of Literary Linguistics 8, no. 1 (August 25, 2019): 1–29. http://dx.doi.org/10.15462/ijll.v8i1.118.
Full textAbstract:
Abstract
This article presents an analysis of the police television series A Touch of Frost (Yorkshire Television, 1992) and the crime novels of Rodney Wingfield upon which it is based. In analysing characterisation of the protagonist of each version, Inspector Jack Frost, data is drawn from the pilot episode of the series and Wingfield’s debut novel Frost at Christmas (1984). Wingfield was less than impressed with television’s version of Frost, stating, ‘He just isn’t my Frost’. Given that a core motivation for stylistics is to ‘support initial impressions in various extracts’ readings’ and to ‘describe the readers’ response with some precision’ (Gregoriou, 2007:19), this article offers a linguistic explanation for the response of an author to the adaptation of his own work. The famously reticent Wingfield did not elaborate in detail on why he disapproved of the television version of Frost, although several critics contended that Wingfield felt television had ‘softened’ his creation. This article will analyse each version in terms of the elements of narrative outlined by Simpson and Montgomery (1995) and will in turn suggest an elaboration of this model by integrating frameworks for the analysis of impoliteness (Culpeper, 1996; 2010), examining pragmatic elements of Frost’s dialogue. In investigating whether television’s Jack Frost is ‘softer’ than the character envisaged by Wingfield free direct speech and accompanying physical behaviour in novel and television adaptation are analysed, focussing on whether the perceived softness of the latter has been partly achieved by making the speech of Frost less impolite on television.
Keywords
Adaptation, characterisation, A Touch of Frost, Frost at Christmas, impoliteness, free direct speech, dialogue, television drama, crime fiction
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Rachmawati, Putri. "THE ANALYSIS OF CONFLICTS REFLECTED BY MAI CHARACTERS IN “RISE OF THE GUARDIANS” MOVIE." JURNAL ILMIAH BAHASA DAN SASTRA 5, no. 2 (April 5, 2019): 66–76. http://dx.doi.org/10.21067/jibs.v5i2.3170.
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This study focuses on the analysis of the main characters; Jack Frost, Santa Claus, the Tooth Fairy, the Easter Bunny, Pitch Black, and the Sandman’s internal and external conflicts in “Rise of the Guardians” Movie. The purpose of this study is to find out type of the internal and external conflicts based on the William Kenney’s theory. The study was conducted by using descriptive qualitative approach. The findings of this study; internal conflict: Jack Frost vs. Himself and the external conflict include Santa Claus vs. Yeti, Jack Frost vs. Easter Bunny, Pitch Black vs. Group of Guardians, Jack Frost vs. Group of Guardians, Jack Frost vs. Pitch Black. The problem solving of those conflict is competitive, because the Group of the Guardians pursues their own concerns at the Pitch Black’s expense.
Key Words: Conflict, main character, rise of the guardians, movie
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Wijayanto, Guruh Praja, and Haryati Sulistyorini. "CHILDREN’S HOPE SYMBOLIZED BY JACK FROST’S MOTIVATION TO BE A TRUE GUARDIAN IN PETER RAMSEY’S FILM RISE OF THE GUARDIANS." LITE: Jurnal Bahasa, Sastra, dan Budaya 16, no. 2 (February 17, 2021): 196–211. http://dx.doi.org/10.33633/lite.v16i2.4121.
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Abstract: This thesis entitled Children’s Hope Symbolized by Jack Frost’s Motivation to be A True Guardian in Peter Ramsey’s Film “Rise of The Guardians” has set a goal at finding semiotic elements of sign of motivation to become the true guardian experienced by Jack Frost as the main character described in film. In conducting the research, descriptive qualitative used to find semiotic aspect to find semiotic aspect of Children Hope’s Symbolized by Jack Frost Motivation to be A True Guardian. The approaches that are used by the researcher are divided into two to analyze the data. They are structural approach and semiotic approach. The researcher used a structural approach to analyze structural elements such as plot, main character traits of the main character, conflict experienced by the main character, and setting described in this story. Semiotic approach used to describe signs that consist of icon, index, symbol to analyze appearance of signs that reflect main character motivation to become a true guardian. This research shows the plot of Peter Ramsey’s film Rise of the Guardians consist of exposition, rising actions, climax, falling action, and resolution. The main character of Peter Ramsey’s film Rise of the Guardians is Jack Frost. Jack described has 6 traits such as Self-Doubt, Mischievous, Hesitant, Caring, Persistent, Generous. In this film, the main character Jack Frost has experienced internal and external conflict. The setting in film is divided into setting of place and setting of time. The Setting of the place is Frozen Pond Town. North Pole, Jamie’s House. Tooth Palace, Warren, Pitch Lair. The setting of times is 300 years after Jack’s revival, Snow day, Day/Noon, Evening, Night. Last is about signs that appear at Peter Ramsey’s film Rise of the Guardians classified into Icon, index, symbol. The icons that show in the film are Jack’s staff, The Globe of Belief, Jack’s Gold Box, Nesting Doll, Oath Book/Guardians oath, Sandy’s sand and Pitch sand. The Index shows in film are Jack's first thing to remember after revival, freezing something, Good dream becoming Bad dream (Nightmare), North advice, Jack’s sister voice, fixing staff, Denying and Accepting oath. The symbol shows in film are Frozen Pond, G shaped Jack’s staff, Recall memory, Man in the moonlight. Symbol Recall memory becomes the result of Jack being motivated to become a true Guardian that has correlation with analysis, structural aspects, and other semiotics aspects.
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O'Donnell, Marcus. "Jack Bauer: The Smart Warrior's Faustian Gift." Media International Australia 129, no. 1 (November 2008): 33–45. http://dx.doi.org/10.1177/1329878x0812900105.
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Jack Bauer of the television series 24 is a highly charged contemporary mythic character who exists in powerful relationship to past and present real-world and fictional figures. If Rambo was a classic Reagan era cinematic ‘hard body’ (Jeffords, 1994), Jack is the archetypal Bush ‘smart warrior’ in a post -Patriot Act era. Like Rambo, Reagan's displays of bravado were decisive and successfully staged; however, George Bush has faced a multiplying set of uncertainties. This sets up a more complex set of relations between Jack, George W. Bush and contemporary masculinities than those presented by the Reagan era. Jack is both an emblem of unimpeded presidential will and a parable of its Faustian consequences.
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Foss, Katherine A. "Death of the Slow-Cooker or #CROCK-POTISINNOCENT? This Is Us, Parasocial Grief, and the Crock-Pot Crisis." Journal of Communication Inquiry 44, no. 1 (February 5, 2019): 69–89. http://dx.doi.org/10.1177/0196859919826534.
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Even though viewers understand that a television show is fictional, they can still mourn the demise of their favorite characters. This fictional grief became apparent with the on-screen death of the character Jack in the program This Is Us. The current study analyzed the death narrative and perceived responsibility in first and second seasons of This Is Us, paired with the online responses posted to social media and the short promotional video between the show and Crock-Pot. Findings suggest that fans experienced and expressed parasocial grief for Jack’s death on social media, attributing blame to the Crock-Pot brand. In turn, the company’s tweets and replies acknowledged and participated in the fans’ mourning rituals while reassuring the brand’s safety, ultimately aiding the brand’s public recovery. From fans’ displaced blame to the later partnership between the show and brand, labeled “#CrockPotIsInnocent,” this case demonstrates the impact of fictional media, social media engagement for parasocial grief, and a successful real-life brand recovery for a fictional crisis.
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Haugtvedt, Erica. "Class and Complex Transmedia Character in the Early Victorian Period: Jack Sheppard (1839-40)." Victorian Popular Fictions Journal 3, no. 2 (December 17, 2021): 75–96. http://dx.doi.org/10.46911/oyym7051.
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The reception of William Harrison Ainsworth’s novel, Jack Sheppard (1839-1840), was contemporaneously deemed a mania and has been described by critics today as a moral panic over the influence of fiction. Several adaptations of Ainsworth’s novel across media ambiguously depict Jack’s hanging, and the adaptations that most clearly show his survival occur in those versions that are least legally defensible and most clearly targeted toward the labouring classes. In this essay, I analyse Buckstone and Greenwood’s melodramas at the Adelphi and Sadler’s Wells, respectively, in autumn 1839; two penny press novelisations of Jack Sheppard published in 1839 and 1840; and an anonymous melodrama staged at the City of London Theatre in 1845, which was shut down due to violating the licensing ban on Jack Sheppard titles. From contemporary accounts of the mania, I argue that audience members treated historical and fictional accounts of Jack as describing the same entity, which created the space for specifying new facts and thus claiming new meaning. I therefore see Jack Sheppard as a transmedia character. For the labouring classes, claiming new meaning sometimes inhered in Jack’s defiance of capital punishment. This transmedial extension of Ainsworth’s character by working-class audiences in the penny press and cheap theatre pointed to the inadequacies of Victorian copyright law to protect the creative property of originating authors across media, and thus disturbed Victorian middle and upper-class literary critics because they saw the lower class’s celebration of a criminal as threatening to undermine their social order. Using the concept of transmedia in this period allows us to see how enthusiastic audience members in the working classes created what I term character complexity as they built a palimpsest out of the panoply of cross-media character representations. This transmedia character complexity matters because it is an avenue for oppressed communities to reclaim their dignity through narrative meaning-making.
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Srieh, Ahmed, and Mahdi Kareem. "A Cognitive Stylistic Analysis of Characterization in Golding’s Lord of the Flies." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 60, no. 1 (March 12, 2021): 21–40. http://dx.doi.org/10.36473/ujhss.v60i1.1287.
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Characterization is commonly known in stylistics to be the cognitive process in the readers' minds when comprehending a fictional character in a literary work .In one approach, it is assumed that characters are the outcome of the interaction between the words in the text on the one hand and the contents of our heads on the other. This paper is an attempt to understand how characterization is achieved by applying Culpeper’s (2001) model which seems to be to present a method of analysis that is more objective and more systematic in analyzing characters. Two characters are selected for discussion; Ralph and Jack from Golding’s (1954) Lord of the Flies. The novel talks about the corruption of human beings and the capacity of evil they have. The results show that Ralph and Jack are antithetical in many aspects; Ralph represents the rational civilized boy whereas Jack represents the savage brutal boy.
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Janeček, Petr. "The Spring Man of Prague." Fabula 61, no. 3-4 (November 25, 2020): 223–39. http://dx.doi.org/10.1515/fabula-2020-0012.
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AbstractThe paper discusses the phenomenon of a well-known Czech folkloric character, the Spring Man, in its broader historical, social and pop-cultural context. This fictional hero appears in contemporary legends and anecdotes popular mostly during the Second World War; the narratives about the Spring Man represent a regional version (ecotype) of an international migratory legend about the originally English jumping urban phantom Spring-heeled Jack. Similarly to his English predecessor, the Czech Spring Man became a hero of popular culture, which, after 2002, rebranded this originally ambivalent urban apparition into the “first Czech superhero” of cartoons, comic books and movies.
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Sadr, Saman, and Fazel Asadi Amjad. "The Struggle between the Dharma Bums and the Police: A Foucauldian Reading of The Dharma Bums." Journal of Critical Studies in Language and Literature 3, no. 2 (January 22, 2022): 15–19. http://dx.doi.org/10.46809/jcsll.v3i2.131.
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This study aimed to examine and analyze the novel The Dharma Bums by Jack Kerouac based on the political theory of Michel Foucault. This semi-fictional account is the story of search for the original experience and enlightenment and introduces the character of Gary Snyder as Japhy Ryder who is a poet, critical thinker, philosopher and political radical, and Ray Smith, the alter ego of Jack Kerouac himself. The main focus would be on Foucault’s conceptions of power, power relations, institutions, normalization, and surveillance. This study will also seek to provide a true understanding of the life and times of Jack Kerouac. Moreover, it represents the cultural, political, and historical background based on which Kerouac had written his work. Kerouac’s novel represents the spirit of the age of a people who sought change, difference, and disobedience; the main characters are antiheroes who challenge their prisonlike structure of the society. In contrast, the government has the upper hand by means of its distinct and overlapping institutions that not only neutralize such acts or resistances but make normal and ordinary those individuals who were themselves the promoters and examples of abnormality.
Books on the topic "Jack Frost (Fictional character)"
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Henry, James. First Frost: A DS Jack Frost investigation. London: Corgi Books, 2011.
Find full textBook chapters on the topic "Jack Frost (Fictional character)"
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Smith, Andrew Alan. "Jack Kirby." In Working-Class Comic Book Heroes, 191–205. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816641.003.0008.
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Ben “The Thing” Grimm of the Fantastic Four is portrayed as a working-class “guy,” despite the vast amount of money at his disposal as a principal in Fantastic Four, Inc. However, his origins go back further than his first appearance in 1961, to the childhood of his co-creator and original artist, Jack Kirby. Kirby, a working-class Jew from the slums of Lower East Side New York City in the early part of the twentieth century, patterned Grimm after himself. Even after both Kirby and cocreator Stan Lee left Fantastic Four, successive writers and artists would include new pieces of background information about the character cementing the direct correlation between the fictional Thing and his real-world creator and alter ego, Jack Kirby.