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After the structuralism period but also the boom of poststructuralist deconstruction, this study aims to explore the functionality of the models of narrative organization proposed by Formalist and Structuralist theories, by taking contemporary themes as a basis. The favored corpora for demonstration: the film Snow White and the Huntsman (2017) - to which we apply the 31 functions developed by Russian folklorist Vladimir Propp - and the computer animation Shrek (2012) - considering the model of predictability developed by Lithuanian linguist A.J. Greimas. [ABSTRACT FROM AUTHOR]

The digital animation film Shrek (2001), directed by Andrew Adamson and Vicky Jenson was very innovative in the industry of animation. There is no doubt that its success is due to the fact that the plot revolves around the typical fairytale structure in order to subvert and take apart a whole series of clichés generating a parodic vision of this universe. Nevertheless, the main subversion is found in the character who ends up being the hero of the movie: Shrek, a hermit ogre who defines himself as monster because it is what society thinks of him. But the truth is quite the contrary because the ogre lives peacefully in his swamp without hurting anyone and just makes use of his role of monster for having fun and defending himself from intruders. This character is forced to take over the most opposite role against his nature: the role of knight-prince who has to undertake a mission in order to rescue a princess. As a result, the supposed monster will be assuming his new role as hero progressively, to the point of achieving success where no prince has. [ABSTRACT FROM AUTHOR]

The digital animation film Shrek (2001), directed by Andrew Adamson and Vicky Jenson was very innovative in the industry of animation. There is no doubt that its success is due to the fact that the plot revolves around the typical fairytale structure in order to subvert and take apart a whole series of clichés generating a parodic vision of this universe. Nevertheless, the main subversion is found in the character who ends up being the hero of the movie: Shrek, a hermit ogre who defines himself as monster because it is what society thinks of him. But the truth is quite the contrary because the ogre lives peacefully in his swamp without hurting anyone and just makes use of his role of monster for having fun and defending himself from intruders. This character is forced to take over the most opposite role against his nature: the role of knight-prince who has to undertake a mission in order to rescue a princess. As a result, the supposed monster will be assuming his new role as hero progressively, to the point of achieving success where no prince has. [ABSTRACT FROM AUTHOR]

When William Steig wrote in 1990 Shrek! he did not know his 30 colorful pages, filled with rhymes and playful language, would be transformed eleven years later into one of the most successful animated feature films, both for children and adults alike, namely, Shrek (2001). This box office hit led to the production of three more films, Shrek 2 (2004), Shrek the Third (2007) and Shrek Forever After (2010) which have modified the way the classical fairytale canon is understood in the twenty-first century. The entertainment offered by this film is the result of what Raquel Segovia has termed in Spanish transferencia o trasvase (223), which includes translation and adaptation in a process where the original text belongs to a printed means of communication (a children's storybook in this case) to be subjected to a transference process. This process transforms the literary text into a new audiovisual product. The aim of this paper is to analyze how Dreamworks dealt with this transference process while taking into consideration the concepts of subversion of the classical fairytale canon and rewriting. The latter can be understood thanks to the definition given by André Lefevere: "the adaptation of a work of literature to a different audience, with the intention of influencing the way in which that audience reads the work" ("Mother courage's cucumbers" 4). Examples extracted from the original fairytale will be contrasted with the work done by Dreamworks where characters subvert the traditional stereotypes and functions described by Vladimir Propp in Morphology of the Folktale. [ABSTRACT FROM AUTHOR]

This article compares the models of subjectivity and identity in William Steig's 1990 picture book Shrek! and in DreamWorks' Shrek films. Steig presented his ogre hero as a model of the crises of subjectivity all children must face, and then reassured readers by showing how even a hideous figure such as Shrek can find resolution and be 'happier than ever to be exactly what he was.' DreamWorks' Shrek films, on the other hand, offer up models of identity based on consumption and rooted in commodity culture, tales which seek to transform their viewers into consumers and even into commodities themselves. As texts of commodity culture, the films must create, not resolve, anxiety and self-doubt. Has DreamWorks' adaptation of Steig's book merely replaced a self-confident ogre with an anxiety-ridden consumer? Or, can the films' humor and absurdity, their parody of familiar commodities and corporate landscapes, and their introduction of boundary-crossing characters such as Fiona offer an alternative critique of commodity culture? This article demonstrates how the films work to uphold and reinforce commodity culture, but also examines how they might also provide moments of potential subversion and critique. [ABSTRACT FROM AUTHOR]

Animation films consist of an important function, which most of us don't consider. The subject function is the transfer of the dominant capitalist ideology through "entertainment". Using very efficient and different techniques does this transfer. The classes are rejected, status quo is supported, the traditional patterns of thought with respect to beauty, ugliness and social gender are continued by being intensified, different cultures are "marginalized" with language and symbols are engraved in one's unconscious using special techniques. The messages transferred using these techniques in Disney and other Hollywood productions are not recognised by the adults, who don't have sufficient technical information in this field and more importantly, they are not recognised by the children and the messages transmitted are interiorised in a "passive" manner, without being critically filtered. In this article, the classical Disney animation films and the Dreamworks production "Shrek" which response to the classical narrative form of the Disney animation films in an ironical way (Parry, 2009: 151). Although Shrek criticizes the classical narrative form of Disney, it continues transfer of ideology as the Disney films by alienation through language. It is very critical that the contents of the films which are presented as "family entertainment" are carefully read by both children as well as adults. [ABSTRACT FROM AUTHOR]

Mucins and mucin-like molecules are highly glycosylated, high-molecular-weight cell surface proteins that possess a semi-rigid and highly extended extracellular domain. P-selectin glycoprotein ligand-1 (PSGL-1), a mucin-like glycoprotein, has recently been found to restrict HIV-1 infectivity through virion incorporation that sterically hinders virus particle attachment to target cells. Here, we report the identification of a family of antiviral cellular proteins, named the Surface-Hinged, Rigidly-Extended Killer (SHREK) family of virion inactivators (PSGL-1, CD43, TIM-1, CD34, PODXL1, PODXL2, CD164, MUC1, MUC4, and TMEM123) that share similar structural characteristics with PSGL-1. We demonstrate that SHREK proteins block HIV-1 infectivity by inhibiting virus particle attachment to target cells. In addition, we demonstrate that SHREK proteins are broad-spectrum host antiviral factors that block the infection of diverse viruses such as influenza A. Furthermore, we demonstrate that a subset of SHREKs also blocks the infectivity of a hybrid alphavirus-SARS-CoV-2 (Ha-CoV-2) pseudovirus. These results suggest that SHREK proteins may be a part of host innate immunity against enveloped viruses. [ABSTRACT FROM AUTHOR]