Peter Pan 무성영화 시나리오 연구: 후크의 변화된 정체성을 중심으로

Abstract

In J. M. Barrie’s lifetime, the ongoing process of stage adaptations of Peter Pan was one of smoothing its rough edges, so that its problematic parts washed out of the narrative. In becoming a familiar and beloved story for children as well, its radical quality and the extraordinary originality that confronted the first audience of adults was finally lost. However, this conclusion does not take the censorship that Barrie fought against all through his life into consideration. Generally, the versions for the stage left Peter alone while the novel and the scenario, free from censorship, leave Peter and Wendy’s daughter together at the end. However, Barrie, a strong believer of cultural Darwinism, always tried to reflect the problems of the times. In this sense, the novel and the scenario, seeming to share a similar story, show different aspects. Though the implications of the scenario are multifaceted, this paper aims to investigate the changed nature of Hook as it reflected the saddest aspects of Barrie’s lifetime. In his scenario, Barrie shifted the cause of Hook’s melancholy from the Kaiser's “holocaust of children” to the military training, sporting codes, and Pop system of Eton that Llewelyn Davies boys attended. By doing so, he removed the vestiges of Charles II and grafted deconstructed Shakespearean and Dickens’ characters unto Hook, making Shakespeare an unimportant part of the cultural self-mobilization process needed for wartime success.