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Alice in the Land of Movies

Mersiha Ismajloska   ORCID icon ; University for Information Science and Technology “St. Paul the Apostle”, Ohrid, Macedonia

Fulltext: english, pdf (238 KB) pages 311-318 downloads: 756* cite
APA 6th Edition
Ismajloska, M. (2014). Alice in the Land of Movies. Libri et liberi, 3 (2), 311-318. Retrieved from
MLA 8th Edition
Ismajloska, Mersiha. "Alice in the Land of Movies." Libri et liberi, vol. 3, no. 2, 2014, pp. 311-318. Accessed 25 Nov. 2020.
Chicago 17th Edition
Ismajloska, Mersiha. "Alice in the Land of Movies." Libri et liberi 3, no. 2 (2014): 311-318.
Ismajloska, M. (2014). 'Alice in the Land of Movies', Libri et liberi, 3(2), pp. 311-318. Available at: (Accessed 25 November 2020)
Ismajloska M. Alice in the Land of Movies. Libri et liberi [Internet]. 2014 [cited 2020 November 25];3(2):311-318. Available from:
M. Ismajloska, "Alice in the Land of Movies", Libri et liberi, vol.3, no. 2, pp. 311-318, 2014. [Online]. Available: [Accessed: 25 November 2020]

The paper focuses on Tim Burton’s movie adaptation of the Alice books by Lewis Carroll. The distinction between the magical and the fantastic, and the miraculous and the wonderful that is resolved within the movie Alice in Wonderland (2010), carried within the infant nature present in Tim Burton’s grown-up Alice, redefines the standpoints of the fantastic, making child’s fantasy a literary-screen reality. In both cases, the frames of the fantastic, starting from a hint of the fictional and the wonderful, make a crossover towards the miraculous. According to Roger Caillois (1972), the fantastic expresses a scandal, a break, a strange, almost unbearable, penetration into the real world, and with its penetrations of the other side into the real world, it transforms itself into a poetics of the miraculous.

Alice in Wonderland; Tim Burton; fantastic; miraculous; film adaptation; Lewis Carroll

Hrčak ID: 132487


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