A Christmas Carol (1843) is Dickens’s most visually symbolic text. It is detailed and its dependence on contrasts between darkness and light, its construction as a series of scenes the culture Projecting Scrooge’s identity into past and future, associating viewer desire with descriptions of an idealized self, For while A Christmas Carol details the relationship between an individual subject and culture, it also unfolds as a symbol of the subject’s relation to culture in general. (Dickens)
There have been numerous retellings of the Charles Dickens classic, “A Christmas Carol,” both on film and television. But it is the late Alastair Sim who took this role and made it his own in A Christmas Carol Scrooge (1951). A Christmas Carol tells the story of a Victorian businessman as the subject of a culture in which liberal. Scrooge gains access to his former, feeling self and to a community with which that self is in harmony–and, not incidentally, he saves his own life–by learning to negotiate the text’s field of image representations. A Christmas Carol reconciles Christmases Past and Christmases Yet to come, that is, by magic up an illusion of presence. Scrooge’s life story is told in a series of flashbacks, ease by old-style yet effective trick photography. Director Brian Desmond-Hurst uses this device to conjure up an earlier, innocent world in which to chronicle Scrooge’s decent into misanthropy. This contrasts successfully with Scrooge’s gloomy, squalid present and doomed future.
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