"Heart" is, the homologous structure in other vertebrates,consisting of four chambers in mammals and birds andthree chambers in reptiles and amphibians. Yet as it applies to this film it is more closely defined as; the center of the total personality, especially with reference to intuition, feeling, or emotion.
Though he clearly dosen't require a heart to live, given that he has been dancing, singing, and functioning the whole film, he desires more than anything to have a heart!
When a man's an empty kettle he should be on his mettle,And yet I'm torn apart.Just because I'm presumin' that I could be kind-a-human,If I only had heart.I'd be tender - I'd be gentle and awful sentimentalRegarding Love and Art.I'd be friends with the sparrows ...and the boys who shoots the arrowsIf I only had a heart.Picture me - a balcony. Above a voice sings low.Wherefore art thou, Romeo? I hear a beat....How sweet.Just to register emotion, jealousy - devotion,And really feel the part.I could stay young and chipperand I'd lock it with a zipper,If I only had a heart.
Though he clearly dosen't require a heart to live, given that he has been dancing, singing, and functioning the whole film, he desires more than anything to have a heart!
When a man's an empty kettle he should be on his mettle,And yet I'm torn apart.Just because I'm presumin' that I could be kind-a-human,If I only had heart.I'd be tender - I'd be gentle and awful sentimentalRegarding Love and Art.I'd be friends with the sparrows ...and the boys who shoots the arrowsIf I only had a heart.Picture me - a balcony. Above a voice sings low.Wherefore art thou, Romeo? I hear a beat....How sweet.Just to register emotion, jealousy - devotion,And really feel the part.I could stay young and chipperand I'd lock it with a zipper,If I only had a heart.
Hey Zach, I like the tension you're opening up here between organic and emotional centers (the two connotations of heart you're working with). This kind of tension allows for very powerful insights into a film's core structures--but a couple of things may currently impede your effort. For one, it's important to take as your object something very tangible, something we actually see on screen (as with any gram). The problem with choosing "heart" is that it's an abstraction, and used as such...and consequently we're not as likely to generate any epiphanies or unforeseen incites....Instead, we're more likely to confirm what we already know about the film. You could avoid this danger by working with material elements associated with the entity in question. (What form is the "prosthetic" heart given to the tin-man by the Wizard, for instance? It could be productive to work with this particular object, or more precisely, with connotations associated with this signifier. In any event, the key is to then use this item as a portal back into the film's material elements (and this means using the cinematic terms and categories we've been working with in class).
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CS