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During the dinner scene with the Queen, King, Fiona, Shrek, and Donkey at the table go through each other’s names twice, ending with Donkey smiling and referring to himself. This is a reference to The Rocky Horror Picture Show where the characters go through each others’ names in a chaotic roundabout. Because the directors aim to lower violence for the children they emphasise anger through other alternatives i. e. food. When Shrek and King are arguing they begin to rip apart the food unconsciously.

Adults here will understand this sort of aggression but not young children. The language used with Shrek 2 is sometimes quite discourteous but hidden in the fast pace humour. The sarcastic quick comments is more easier for the mature audience to understand as the have a faster hearing pace and generally know more as most of the jokes came from modern time news (this is one of the reasons why children often miss out on the joke). For example, when Donkey took the magic potion he says to Puss-in-Boots ‘I don’t *feel* any different.

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Do I look any different? ‘ and Puss-in-Boots replies ‘You still look like an ass to me! ‘ The language used here suggest adult material whether Puss-in-Boots meant ‘ass’ as in donkey or as a rude comment. Children would only associate the word ‘ass’ as a rude way to say ‘bottom’ unaware that there are two meanings. This happens also in Shrek 1. Shrek 2 also uses informal language that generally applies to both children and adults although children tend to know more informal slang language.

The Fairy Godmothers own character is sadistic and impatient in contrast to the ‘fairy’ she is supposed to be. The Fairy Godmothers anguish to release stress can only be understood by adults ‘I don’t care whose fault this was, just get it sorted! And could someone please bring me something deep fat fried and smothered in chocolate… ‘ Gender bureaucrat enemy of the people “Fairy Godmother” lives a life of dogmatism following the scripts in “Cinderella,” “Snow White” and such books that she keeps in her library.

Living off the exploited workers, and selling hocus-pocus to the people like many other unproductive sector ‘flim-flam’ artists we can think of today, Fairy Godmother spreads her poisonous visions of the future everywhere and lords over even the king himself. Seeking to appropriate the sexuality of the King’s daughter for her son, Fairy Godmother does her best to spread ‘speciesist’ propaganda against ogres, one of which already married the King’s daughter, thus making her unavailable to the Fairy Godmother’s son.

The evil ‘speciesist’ propaganda finds fertile grounds in the King’s mind and most of the people of the kingdom. Highly class-conscious characters including Pinocchio watching television immediately see through the ‘Pigdom’s’ entertainment media, get off the couch and rush to help their compatriots locked up while filmed for a cop show. Once out of prison, our heroes rely on a toiling baker to launch on all-out assault on the bastion of reaction, on castle taken over by Fairy Godmothers plotting.

Using the past to serve the present as Mao instructed artists, the directors of Shrek 2 rattle off cultural references like machine-gun fire. Making Godzilla sounds and tearing down Starbucks on the way to the castle, our heroes arrive in time to do battle with the Fairy Godmother. Borrowing a move from another movie, the King dives to absorb the attack from the Fairy Godmother and he ends up turning into a frog. By running the king-to-frog cultural reference in reverse and making a Godzilla type character a hero, the directors of Shrek 2 show just how upside down and backwards our culture is.

The camera shots within Shrek 2 also make up with the audiences’ reactions as well as the computer graphics. Close up shots are aimed more at adults because there is more detail within the scenes. Whereas children prefer the ‘whole picture’ and scenes that are bold, bright and simple. What appeals to children in the film is the funny looking characters that look almost look real. The difference with the normal animation from the ‘plastic-looking’ animation is that it looks more existent.

The big eyed, Scottish mouth, tube eared, bogey coloured ogre is so characteristically different from the average human, (obviously designed lovingly than if it were real) it appeals to children in an interesting awe – the next big thing since the bogeyman. The music used within Shrek 2 including within the ‘Pop Idol’ ending is generally bubbly as the film is a cartoon comedy. Counting Crows track, ‘Accidentally In Love’ song plays over the opening of the film as we see Shrek and Fiona on their honeymoon. This fits well within the context to both audiences.

The catchy tune lures them in for the launch of the film. Themes within Shrek 2 are: Prejudice: Because Shrek is an ogre people tend to think he is naturally horrible and cruel and cannot possibly have a feeling of love. Discrimination: The King does not want his daughter to have a relationship with Shrek because he is an ogre. Love: The romance between Shrek and Fiona is the centrepiece within the film that is understood by both audiences. As with any good romantic structure the couple go through a series of obstacles to continue to build on their relationship beginning with the denial of the King’s approval.

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