< 슈렉 > 에 나타난 패러디 전략과 그 효과 = Parodic strategy and its effect in Shrek

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Sherk uses parody as a basic structure of the work strategically. Often called ironic quotation, pastiche, appropriation, or intertextuality, parody is usually considered central to postmodernism, both by its detractors and its defenders. For artists, the postmodern is said to involve a rummaging through the image reserves of the past. According to Linda Hutcheon, the collective weight of parodic practice suggests a redefinition of parody as repetition with critical distance that allows ironic signalling of difference at the very heart of similarity. And as a form of ironic represenrarion, parody is doubly coded in political terms: it both legitimizes and subverts that which it parodies. The purpose of this study is to analyze the structure and effect of parody in Shrek. The opposition between [swamp - Shrek] and [Duloc - Farquaad] functions as a metaphor of the relation between [DreamWorks SKG - Jeffrey Katzenberg] and [Walt Disney Company - Michael Eisner]. And the princess Fiona who mediates between the two, is created as a double-faced character. She acts on the typical paradigm of Disney`s fairy tales, but, on the other hand, is an active heroine who has ability to apprehend the inner world of the ogre. Upsetting our expectation, she marries not the Lord but the ogre, and besides, is not metamorphosed into a beauty in spite of her lover`s kiss. Borrowing Disney`s narrative strategies and inverting them thoroughly, Shrek mocks and doubts the authority of the Disney. Finally, the ethos of parody in this work is to introduce and to subvert the grammar and ideology of the Disney. And so, this parodic strategy is a method not only to overcome the Disney`s Kingdom but to search a way for the post-Disney. Shrek shows us an example of a postmodern parody as a self-reflexive mode.