(Sept 3rd Entry) Archetypes in Feherlofia Sept 3, 2018 0:03:00 GMT
Post by Ken (INTJ) on Sept 3, 2018 0:03:00 GMT
I have put together a short presentation on Feherlofia, covering five archetypes present in the animation.
The first archetype is the metaphor of a world tree. The world tree connects death with life, hell with the heavens. In Old Norse, the tree is known as "Yggdrasil," and in Hungarian, the tree is known as "Világfa." Implicit in this schema is the principle of interconnection between death and life, and the fact that life is dependent on the death principle, and not the other way around. Practically, this means that death (ancestral roots, evolutionary pressure) produces beauty (the leaves of the tree) by cutting away what is ugly and perfecting the process of survival. If we remove the gnarled roots of the tree, we will not have the beautiful flowers at the top. Without hell, there can be no heaven.
The next archetype I cover is that of the Old Father. We are all familiar with Zeus, Odin, and Jehovah. Less familiar is Gök Tengri, the Turkic sky God, or Szélkirály, the Hungarian wind God. In Feherlofia, the Old Father is usurped by the dragons, who are unleashed by the three curious wives. The dragons are similar to the Greek Titans, as they are elemental forces who disregard all honor and righteousness. When stripped of his power, the Old Father appears to the young hero as a ghost in the woods. He is similar to Odin or Zeus, who shape-shift and appear to heroes in lonely places. Materially, we might explain this phenomenon as a hallucination resulting from social-sensory deprivation which allows the hero to access his unconscious mind, and therefore access deep ancestral knowledge.
Edit: we could compare the return of the Old Father with the return of Christ, the return of Aragorn, or the return of Barbarossa: the one who restores order after a dark storm.
The three wives each represent a female archetype. The first is the harlot, who uses her sexuality to manipulate men without loyalty to them. The second is the neurotic woman, who does not possess the strength to help her husband, but instead causes problems for him. She knows right from wrong, but her fears, anxiety, and emotionalism cause her to be a burden. The last wife is the golden wife who assists her husband because of her fearlessness and selflessness. She is the perfect companion (biblically, a "helpmeet") for him. Despite the inherent goodness of the latter two wives, they are still driven by their curiosity to unleash the "Pandora's box" of the dragons.
Of great interest to me is the fact that this animation was commissioned in communist Hungary, at a time when the American film industry had embraced legalized pornography and interracial romance. It is a film which uses a psychedelic style that might appeal to "left-leaning" creative minds, but has several underlying conservative and traditional morals. The skill of the animation is fascinating from a certain artistic perspective, and yet simple enough to be used as a cartoon for children.
What I did not mention in my video presentation is that the film clearly sets up an opposition between ecological primitivism and technological chaos. The first dragon represents a golem, the second dragon represents a tank, and the third dragon represents an entire city or metropolis. Between the emphasis on industrialization in Stalinist communism and the emphasis on ruralization in the Khmer Rouge, this film certainly tends toward the latter.
For those who are further interested in Hungarian films which contradict the Hollywood/Parisian/Berlin currents that dominate the movie industry, I would recommend Az ember tragédiája (The Tragedy of Man). I have not yet found a good English transcript of the play which it is based on. If anyone could assist me in discovering a translation that would be enormously helpful.
Edit: I forgot to mention the journey into the underworld to fight the dragons and save the princesses, which is found in Aeneas, Christ, and even Mario.
Also the raising of a hero by animals, like Romulus and Remus. Turkic states that the Turkic peoples are descended from wolves. The interesting idea is that of a person born with morality in their blood, rather than needing to be taught.