genre criticism

GENRE CRITICISM

• Genre criticism is a method within rhetorical criticism for analyzing speeches and writing according to the symbolic artifacts they contain. In rhetoric, the theory of genre provides a means to classify and compare artifacts of communication and to assess their effectiveness and/or contribution to a community. By grouping artifacts with others of similar formal features or rhetorical exigencies, rhetorical critics can shed light on how authors use or flout conventions in order to meet their needs. Genre criticism has thus become one of the main methodologies within rhetorical criticism.
• involves form and structure

THE FARMER - Carol Boston Weatherford

A plot of weeds,
An old grey mule,
Hot sun and sweat,
On a bright Southern day,
Strong stern papa
Under a Straw hat,
Plowing and planting
His Whole life away.
His back bone is forged
Of African iron
And red Georgia Day


CRITICISM:

In poetry, it uses symbolism also.
In this poem "THE FARMER", we can use the phrase "The farmer" as a symbol of the proud African culture and the south.
While the Last two lines describe the farmer but link him to his African ancestors in Africa in his fellow southerners.
What we did is an example of a genre criticism because we focus on the form and the structure, in this case we use the poem as our criticism. we found out that it is really a poem in a sense that it somehow use a symbol.
And it has a pattern of lines 4-4-4-6-5-5-5-5-5-6-5. is this a pattern? :)











 

darwinism theory

DARWINISM THEORY

• Literary Darwinists use concepts from evolutionary biology and the evolutionary human sciences to formulate principles of literary theory and interpret literary texts. They investigate interactions between human nature and the forms of cultural imagination, including literature and its oral antecedents. By “human nature,” they mean a pan-human, genetically transmitted set of dispositions: motives, emotions, features of personality, and forms of cognition. Because the Darwinists concentrate on relations between genetically transmitted dispositions and specific cultural configurations, they often describe their work as "biocultural critique".

THE ART INSTINCT - Denis Dutton

 

The Art Instinct combines two of the most fascinating and contentious disciplines, art and evolutionary science, in a provocative new work that will revolutionize the way art itself is perceived. Aesthetic taste, argues Denis Dutton, is an evolutionary trait, and is shaped by natural selection. It's not, as almost all contemporary art criticism and academic theory would have it, "socially constructed." The human appreciation for art is innate, and certain artistic values are universal across cultures, such as a preference for landscapes that, like the ancient savannah, feature water and distant trees. If people from Africa to Alaska prefer images that would have appealed to our hominid ancestors, what does that mean for the entire discipline of art history? Dutton argues, with forceful logic and hard evidence, that art criticism needs to be premised on an understanding of evolution, not on abstract "theory." Sure to provoke discussion in scientific circles and an uproar in the art world, The Art Instinct offers radical new insights into both the nature of art and the workings of the human mind.

CRITICISM:

The title of book is already directly telling that it is about Human pleasure, beauty and evolution.
And for a literary piece to be a Darwinism theory it should have these aspects. Discussing all about human minds and how it works. There's really no point explaining this how this literature become Darwinism theory.

narratology criticism

NARRATOLOGY CRITICISM

• Designating work as narratological is to some extent dependent more on the academic discipline in which it takes place than any theoretical position advanced. The approach is applicable to any narrative, and in its classic studies, vis-a-vis Propp, non-literary narratives were commonly taken up. Still the term "narratology" is most typically applied to literary theory and literary criticism, as well as film theory and (to a lesser extent) film criticism. Atypical applications of narratological methodologies would include sociolinguistic studies of oral storytelling (William Labov) and in conversation analysis or discourse analysis that deal with narratives arising in the course of spontaneous verbal interaction. However, constituent analysis of a type where narremes are considered to be the basic units of narrative structure could fall within the areas of linguistics, semiotics, or literary theory. 

JOHNNY ENGLISH REBORN - 2011 movie



Eight years after the events of the first film, Sir Johnny English (Rowan Atkinson) is learning martial arts in Tibet as penance for an earlier failed mission in Mozambique. However, he is contacted by MI7, requesting he returns to service.
Johnny returns to MI7's London headquarters (now Toshiba British Intelligence) and assigned by new boss "Pegasus" (Gillian Anderson) to stop a plot to assassinate the Chinese Premier during scheduled talks with the Prime Minister. Johnny also meets with fellow agent Simon Ambrose (Dominic West) and MI7's resident inventor, Patch Quartermain (Tim McInnerny). He is also assigned a junior agent, Colin Tucker (Daniel Kaluuya).
In Hong Kong, English discovers an address that leads him to ex-CIA agent Titus Fisher (Richard Schiff). Fisher reveals that he is a member of a group of assassins called 'Vortex', who sabotaged English's mission in Mozambique. Vortex holds a secret weapon, which requires three metal keys to unlock, and Fisher reveals one. Fisher is killed by an assassin (Pik-Sen Lim) dressed as a cleaner, and the key falls into Vortex's hands. English is humiliated in front of the Foreign Secretary and Pegasus by the loss of the key, and assaults Pegasus's mother, mistaking her for the killer cleaner.
Kate Sumner (Rosamund Pike), MI7's behavioural psychologist, prompts English to recall the events of his mission in Mozambique, and the identity of the second Vortex operative, Karlenko (Mark Ivanir), a Russian spy. A golf match between Karlenko and English leads to multiple attempts on English's life. However, Karlenko is critically injured by the assassin, and English attempts to fly him to hospital. Before they arrive, Karlenko reveals that Vortex's last agent is a member of MI7, and dies.
In a meeting at MI7, it is revealed that talks between Britain and China will continue in a heavily guarded Swiss fortress called 'Le Bastion'. Over dinner, English informs Ambrose that he knows of a mole in MI7. Ambrose prepares to kill English, until it becomes clear that the traitor's identity is unknown. Tucker confronts Ambrose in the bathroom, knowing he is the mole, but English orders him to leave. Ambrose convinces English that Quartermain is the traitor. English entrusts the key to Ambrose, who tells Pegasus that English is the traitor.
English confronts Quartermain, and realises that he has been framed. He escapes in a modified wheelchair. English goes to Kate's house, and convinces her that he is not the traitor. Kate, scrutinising footage of the Mozambique mission, realises that the assassin behaved abnormally. They learn that Vortex owns a drug called timoxeline barbebutenol that allows them to control a person for a brief time before they die of heart failure. Ambrose, the only surviving member of Vortex, plans to use the drug to kill the Premier in exchange for 500 million USD.
English confronts Tucker and convinces him to help break into 'Le Bastion'. English warns Pegasus of the threat, and drinks the drug instead, rendering him vulnerable to Ambrose's commands. Ambrose orders English to kill the Premier using a pistol disguised as a tube of lipstick. English tries to resist the effects of the drug, and engages in a fight with himself while Tucker attempts to interrupt communication between Ambrose and English. Tucker disrupts the frequency, replacing it with radio station, resulting in English beginning to dance. Ambrose reasserts his command, revealing himself in the process. English resists, shooting at Ambrose, who escapes.
The effects of the drug wear off and English seemingly dies of heart-failure, before being revived by Kate, who kisses him on the lips, making his heart rate boost. English pursues Ambrose, parachuting from the building and hijacking a snow-mobile. English reaches Ambrose, who is in a gondola lift. The two fight, with English falling out of the car. Ambrose tries to shoot English, who shoots a rocket at the cable-car, killing Ambrose.
English is knighted by the killer cleaner disguised as the Queen. He chases and attacks her with a tray, before the cleaner is arrested and he realises he has mistakenly targeted the real Queen.
A post-credits scene, influenced by the barber scene in The Great Dictator, sees English making a meal for Kate to the tune of "In the Hall of the Mountain King"

<sup>CRITICISM:

Well this movie is all about crime or rather solving of a crime. Though it is somewhat comedic, this movie can be a narratology criticism. This comes when English failed the mission assigned to him and got it worse. Characters debate leading into longer conversations and debates.
So as above mentioned, a literary piece could be a narratology if it has a discourse analysis leading into a longer verbal interactions which the movie have.</sup>
























 

archetypal criticism

ARCHETYPAL/MYTHOLOGICAL CRITICISM

• focuses on the image and structure
• it doesn't focus on what you read but what the text want to tell you.
• focuses more on the origin of world, things. Uses God or nature as foundation.  

 HERCULES ( DISNEY'S MOVIE ) 
 

On Mt Olympus, Zeus and his wife are celebrating the birth of their son, Hercules. The Lord of the Underworld, Hades, is also invited, though is not at all pleased with the birth of Hercules.

Returning to the Underworld, Hades meets up with the 3 Fates, who tell Hades that in 18 years, when the planets align, if he unleashes the Titans (who were imprisoned by Zeus), he will defeat Zeus and rule over all. However, there is a possibility that Hercules could stop him.

Hades assigns his minions, Pain and Panic, to turn hercules mortal, and kill him. Armed with a potion, the two kidnap Hercules, and take him to Earth. Hercules drinks almost every drop except one, when a childless couple disturbs the two minions' plan. The two decide to tell Hades that they killed Hercules, but figure leaving him on Earth as a mortal will keep him from interfering in Hades' eventual plot.

As Hercules is almost completely mortal, he cannot return to Mt Olympus. However, the childless couple have taken him in, and raise him as their own. However, not being completely mortal, Hercules is ostracized from the rest of society by his immense strength. As he approaches his teenage years, his father tells of how they found him, with a medallion bearing the symbol of the gods.

Hercules sets off for the Temple of Zeus to find answers. Once inside the temple, the enormous statue of Zeus comes to life, first scaring Hercules, but then explaining how he is the young boy's father. Zeus then explains that if Hercules can become a True Hero, he'll be able to return to My Olympus and rejoin them. Zeus then provides Hercules with a winged horse named Pegasus, and sends them off to find Philoctetes.

Hercules and Pegasus find Philoctetes (who is nicknamed 'Phil') on a deserted island. Having become a grouchy, old satyr, Phil is at first reluctant, but finally relents. After an intense period of training, Hercules grows from a scrawny teenager to a buff young man. At Hercules' insistence to try what he has learned, Phil, Hercules and Pegasus head for the city of Thebes, which is plagued by a number of disasters and problems.

On the way there, they are sidetracked by Meg, who appears to be menaced by a centaur. Hercules grows somewhat enchanted with her, before Phil gets them back on track to Thebes. After they leave, Meg meets with Hades, and his assistants, Pain and Panic. Meg was actually trying to get the centaur to side with Hades, but claims Hercules spoiled her plans. Upon hearing this, Hades angrily grabs his assistants, realizing they have lied to him. Pain and Panic manage to convince Hades that since Hercules is mortal, they can still kill him.

In Thebes, Hercules tries to convince the citizens that he is a hero, but noone is willing to believe him. Suddenly, Meg appears, and tells of two small boys trapped under a rock in a nearby canyon. Hercules saves the little boys (actually Pain and Panic in disguise), but then has to contend with the 3-headed beast called the Hydra. After finding out that cutting off one head produces 3 more, Hercules ends up crushing the beast with a rock slide. The defeat of the Hydra causes the citizens of Thebes to acknowledge Hercules as a hero, and further anger Hades.

Hades continues to send beasts and creature against Hercules, but each and everyone is defeated, further making Hercules a hero in the eyes of the citizens. Statues and merchandise are soon rampant with Hercules' face, and Hercules thinks that his fame will allow him to return to Mt Olympus. However, upon visiting the Temple of Zeus again, Zeus explains to Hercules that fame does not equal heroism. When Hercules asks to know what he can do, Zeus refuses to explain further.

Back in Thebes, the conversation has upset Hercules, who wonders if he even has what it takes to be a hero. While in his home, Meg appears, and gets Hercules to come with her for an evening rendezvous. However, Meg's intentions are to secretly find Hercules' weakness, but as the night goes on, she begins to find him charming. The mood is broken when Phil and Pegasus show up to take Hercules home. During the flight away, Phil ends up getting hit by a tree, and falls off Pegasus. When he comes to, he sees Meg talking to Hades, with their conversation sounding as if Meg has been two-timing Hercules. In truth, Meg refuses to go along with Hades plan, claiming that Hercules has no weakness...which leads Hades to believe that she IS that weakness.

Back at Thebes Stadium, Phil tries to convince Hercules of what he saw, but Hercules angrily hits Phil. Phil, hurt by his protege's backlash, gets up and leaves. Once Phil is gone, Hades appears, and offers Hercules an ultimatum: if Hercules gives up his powers for 24 hours, Hades will allow Meg to go free, with the provision that the deal will be voided if any harm comes to her. Hercules goes through with the deal, only to have Hades then tell Hercules how Meg was working for him. Now drained of his strength, Hercules can only watch as Hades lets loose the Titans that Zeus had imprisoned years earlier.

Hades sends a giant cyclops to Thebes to destroy the City. Even though Hercules is drained of his strength, he still tries to stop the creature. Fearing that he'll be killed, Meg and Pegasus find Phil, who they convince to return and help his student. With Phil's help and some ingenuity, Hercules ends up blinding and finishing off the cyclops, but in the process, Meg is gravely injured.

Her injury causes Hades' deal to expire, and Hercules receives his strength back. With Phil watching over Meg, Hercules and Pegasus fly to Mt Olympus, where the Titans have all but over-powered Zeus and the other gods. Hercules helps turn the tide of battle, and ends up taking care of the Titans, and Hades angrily retreats to the Underworld.

When Hercules returns to Thebes, Phil reveals that Meg has died. Upset by this, Hercules descends into the Underworld to get her back. Hercules makes a deal with Hades, that he will take Meg's place if he rescues her from the River of Death. Hades accepts the deal, sure that Hercules will die before he can save her.

It seems Hercules will die, but upon reaching Meg, he suddenly begins to glow yellow, having achieved god status by risking his life to save her. Hercules manages to get Meg out of the River of Death, much to Hades ranting and protestations, several of which cause Hercules to send him flying into the river, where the dead attempt to drown him.

Hercules, Pegasus, Phil and Meg then fly to Mt Olympus where the gods are waiting to welcome Hercules back, now that he has become a 'True Hero.' However, Hercules chooses to stay on Earth, but still be able to visit his family.

The film ends as one of the gods creates a constellation in the sky of Hercules, making Phil swell with pride that he was able to train a legend and a god.  

CRITICISM:

The movie focuses on Hercules, the hero. It also showed the different trials and adventures he experienced. But if we go behind the movie, the producers based it on the mythological Hercules where in he was the son of Zeus the god among gods, who was planned to be killed by sending a poisonous snakes but in the end the baby Hercules killed it instead and he was brought upon the earth. 
And by the time he set his foot on the earth and as he was beginning to be a man he wonders where and who is his father so he traveled and along his way he met many imposible task and battle among hideous beasts where in he defeated them all. 
Hercules, the movie is a very best example of archetypal criticism because first of all it was based on the greek mythology and it is all about him, being a hero who traveled and met his adventures along his way.     

cultural criticism

CULTURAL CRITICISM

•  The practice of describing, interpreting and evaluating culture.
• Cultural criticism makes the term culture refer to popular and classic culture. It breaks down the boundary between high and low culture, and discovers the political reason why a cultural product is more valued than others.

THE GIFT OF MAGI - William Sydney Porter a.k.a O. Henry 

 

Mr. James Dillingham Young ("Jim") and his wife, Della, are a couple living in a modest flat. They each have only one possession in which they take pride: Della's beautiful long, flowing hair, almost to her knees and Jim's shiny gold watch, which had belonged to his father and grandfather.
On Christmas Eve, with only $1.87 in hand, and desperate to find a gift for Jim, Della sells her hair for $20, and eventually finds a platinum fob chain for Jim's watch for $21. She found the perfect gift at last and runs home and begins to prepare dinner.
When Jim comes home, he looks at Della with a strange expression. Della then admits to Jim that she sold her hair to buy him his present. Jim gives Della her present — an assortment of expensive hair accessories (referred to as “The Combs”), useless now that her hair is short. Della then shows Jim the chain she bought for him, to which Jim says he sold his watch to get the money to buy her combs. Although Jim and Della are now left with gifts that neither one can use, they realize how far they are willing to go to show their love for each other, and how priceless their love really is.
The story ends with the narrator comparing the pair's mutually sacrificial gifts of love with those of the Biblical Magi:

The magi, as you know, were wise men – wonderfully wise men – who brought gifts to the new-born King of the Jews in the manger. They invented the art of giving Christmas presents. Being wise, their gifts were no doubt wise ones, possibly bearing the privilege of exchange in case of duplication. And here I have lamely related to you the uneventful chronicle of two foolish children in a flat who most unwisely sacrificed for each other the greatest treasures of their house. But in a last word to the wise of these days let it be said that of all who give gifts these two were the wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the Magi.

CRITICISM:

This short story by O. Henry showed how Jim and Della love each other very much. They were husband and wife who were referred to as Magi. As we all know the Magi or the "Three wise men"/The three kings were the king who brought Baby Jesus their gifts. They traveled so far and did not think how hard it is to get their but what matter most to them is how they were going to present the gifts to the Babe on the manger.
Somehow, O. Henry connected the two characters as same as the Magi. The story started with describing how poor the couple were and they were both want to give each a decent gifts for Christmas where in the resolution of the story their gifts came to be useless. there is a twist in this story in the end.
So I think the culture that the story is trying to get through us, the readers is that the culture of giving gifts from your hearts to your most love ones, sacrificing everything even your most valuable possessions just to be sure that you would have a gift.
Those who give gift are the wisest according above.












 

Neo-classicism

NEO CLASSICISM

• Neoclassicism is a revival of the styles and spirit of classic antiquity inspired directly from the classical period, which coincided and reflected the developments in philosophy and other areas of the Age of Enlightenment, and was initially a reaction against the excesses of the preceding Rococo style. While the movement is often described as the opposed counterpart of Romanticism, this is a great over-simplification that tends not to be sustainable when specific artists or works are considered, the case of the supposed main champion of late Neoclassicism, Ingres, demonstrating this especially well
• Literature during this ere are sophisticated, meaning that there is a beauty in it.

THE HUNCHBACK OF NOTRE DAME - Victor Hugo



The story begins on Epiphany (6 January), 1482, the day of the Feast of Fools in Paris, France. Quasimodo, a deformed hunchback who is the bell-ringer of Notre Dame, is introduced by his crowning as the Pope of Fools.
Esmeralda, a beautiful Gypsy with a kind and generous heart, captures the hearts of many men, including those of Captain Phoebus and Pierre Gringoire, a poor street poet, but especially those of Quasimodo and his adoptive father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his obsessive love and the rules of the church. He orders Quasimodo to kidnap her, but the hunchback is suddenly captured by Phoebus and his guards who save Esmeralda.
Quasimodo is sentenced to be flogged and turned on the pillory for one hour, followed by another hour's public exposure. He calls for water. Esmeralda, seeing his thirst, offers him a drink. It saves him, and she captures his heart.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo actually attempted to kill in jealousy after seeing him about to have sex with Esmeralda, and is tortured and sentenced to death by hanging. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary.
Frollo later informs Pierre Gringoire that the Court of Parliament has voted to remove Esmeralda's right to sanctuary so she can no longer seek shelter in the church and will be taken from the church and killed. Clopin, a street performer, hears the news from Gringoire and rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda.
When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Likewise, he thinks the King's men want to rescue her, and tries to help them find her. She is rescued by Frollo and her phony husband Gringoire. But after yet another failed attempt to win her love, Frollo betrays Esmeralda by handing her to the troops and watches while she is being hanged.

When Frollo laughs during Esmeralda's hanging, Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to the vaults under the huge Gibbet of Montfaucon, and lies next to Esmeralda's corpse, where it had been unceremoniously thrown after the execution. He stays at Montfaucon, and eventually dies of starvation. About eighteen months later, the tomb is opened, and the skeletons are found. As someone tries to separate them, Quasimodo's bones turn to dust.

CRITICISM:

Why Neo Classicism? Victor Hugo describes the importance of architecture and how it is an indication of society's values and ideals. It is also obvious that Hugo is already recognizing the cultural similarities between the ancient and modern times.
In this novel, we can really appreciate the beauty within it. It is shown from the very beginning of the story.
We can also notice that there are so many values that the story gives us. First the movie tells us that physical appearance of a person is not enough fro judging him what is within him. This shows Quasimodo a bell ringer in the tower of the Notre Dame. The people always say that because of his ugliness he is also evil that is very contradictory what really he is because as the story goes on Quasimodo is indeed a very good an a very loving person. Esmerelda on the other hand is also judge by the people as an evil because she is a gypsy where in fact that like Quasimodo she is loving and kind.
Frollo, despite of his being a monk, practice dark magic and trap Esmeralda by giving her a choice whether she will be hanged or she will say she loves Frollo. In short he is very evil.
And many other characters that show how their appearances is very different from their inner thoughts and characters.
Notre Dame was the first work fictional novel that encompasses the whole life.












 

Moral Criticism

MORAL CRITICISM

•  Judge the value of the literature on its moral lesson or ethical teaching

  A. Literature that that is ethically sound and encourages virtue is praised
  B. Literature that misguides and/or corrupts is condemned.

•  Works that are moral (or literature that attempts to teach and instruct as well as entertain) are often seen in contemporary criticism as didactic. 

 THE ROAD TO EL DORADO (MOVIE)

 

 In Spain 1519, two con artists, Tulio (Kevin Kline) and Miguel (Kenneth Branagh) win a map to the legendary City of Gold, El Dorado, in a rigged gambling match (though ironically they end up winning the map fairly). After being accused of cheating with loaded dice, the two evade capture while being chased by a bull and hide in barrels, which are shortly loaded onto one of the ships to be led by Hernán Cortés (Jim Cummings) to the New World. During the trip, they are caught as stowaways, but manage to break free and take a rowboat with the help of Cortés' horse, Altivo (Frank Welker). They land at an unknown shore at the edge of South America, and Miguel begins to recognize landmarks stated on the map. The map leads them to a totem marker outside of a waterfall where a young woman approaches them, chased by a number of guards. The guards see the image of Tulio and Miguel riding Altivo as the same on the totem, and believing them to be gods, escort them and the woman under the falls and into El Dorado, truly a city made of gold.
Tulio and Miguel are brought to the city's elders, Chief Tannabok (Edward James Olmos) and wicked high priest Tzekel-Kan (Armand Assante). While Tannabok warmly welcomes them to the city, Tzekel-Kan mainly sees them as a way to enhance his own standing. Tzekel-Kan also believes that with the arrival of the gods comes "The Year of the Jaguar", a year in which the city will be purged of all wicked people. Tulio and Miguel begin to argue on what to do. Everyone is convinced they are gods when as a volcano is beginning to erupt, Tulio yells at Miguel to "stop!" and the volcano suddenly stops. After celebrations offered by both Tannabok and Tzekel-Kan, the two are taken to private quarters along with the woman they met earlier, Chel (Rosie Perez), who has seen through their ploy but offers to help maintain it as long as they give her a share of the gold and take her with them when they leave. Tulio tells Tannabok the next day that they are only here for a visit, but will need a boat to leave the city with the gifts the city has showered upon them. Tannabok says it will take them at least three days to construct a vessel to carry both them and the gifts given to them by the people of El Dorado.
Chel encourages Miguel to continue to explore the city, allowing her to become closer to Tulio. When Tzekel-Kan sees Miguel playing a ball game with children, he demands that the gods play against the city's best players. During the match, Tulio and Miguel are clearly over-matched, but Chel replaces the ball with a rolled-up armadillo, allowing the two to cheat and win the game. However, when Tzekel-Kan offers to have the defeated players put to death, Miguel orders him to leave the city. As he is leaving, Tzekel-Kan sees a small cut on Miguel's forehead, and realizes that they are not gods because gods do not bleed. Tzekel-Kan conjures a giant stone jaguar to chase them through the city. Tulio and Miguel manage to outwit the stone jaguar, causing both it and Tzekel-Kan to fall into a giant whirlpool, thought to be the entrance to Xibalba, the spirit world. Tzekel-Kan comes to outside El Dorado, where Cortés and his men are searching for gold. Thinking Cortés is a true god, Tzekel-Kan quickly offers to lead them to El Dorado.
With their boat completed and loaded with treasures, Tulio is ready to leave but Miguel announces that he will be staying because he finds the city peaceful. As Tulio and Chel start to leave, they spot smoke on the horizon, realizing that Cortés and his men are approaching the city with the help from Tzekel-Kan. To protect the city from the Spanish troops, Tulio determines they can use the boat to slam against rock formations under the waterfall path that will cave in and block access to the city. The city residents pull down a large statue to create a wave to propel the boat, but Tulio cannot get the sails up to give the boat enough speed to avoid the statue. Miguel forgoes his chance to stay in the city and jumps into the boat with Altivo to finish hoisting the sails. The boat clears the statue in time, and Tulio's plan is successful; though the boat and its treasures are lost, the entrance to El Dorado is sealed for good. Tulio, Miguel, Chel, and Altivo hide as Tzekel-Kan brings Cortés and his men towards the waterfall. Once Tzekal-Kan finds out that the entrance has been blocked, an angry Cortés takes this as a lie. Cortés and his men then march away with a humiliated Tzekel-Kan in their hands. Tulio, Miguel, and Chel, though disappointed they lost their treasure, take off in a different direction for a new adventure, unaware that Altivo still wears the golden horseshoes he was outfitted with in the city.

 CRITICISM:

This movie somehow could be applied to moral criticism. Though if you watch the entire movie, you may find it fictional and comedic but the movie itself shows morals and values.
First, the two main characters, Tulio and Miguel, that when they arrived at El Dorado, their friendship was tested. Secondly, Tsezel-kan, his implicit characteristic is that he is greedy. though somehow he showed respect to their chief, deep inside he wanted to take revenge and to reign El Dorado so that all the Golds will belong to him. Also in the end of the movie he showed his traitorship to his own people, but eventually failed when the passage to El Dorado was blocked. In the end he was the one who received the punishment from the Spaniards troops.
The Movie, though not very highlighted, somehow wants to give some morals to its viewer.
Like friendship is really tested in times of trouble. This was shown by Tulio and Miguel, in the last part of the movie when Miguel Decided to stay to El Dorado while Tulio, Together with the gold decide to leave the city. But when the sails was blocked Miguel eventually jumps to the boat. Together they successfully blocked the entrance to El Dorado when the Spanish Troops planned to invade it.
And, Bad deeds never Succeeds. this is when Tsezel-Kan tried to betray his city by allowing the Spaniards troops to enter the city. but of course he never knew that the entrance was already blocked.
For me, the movie is entertaining and yet gives moral especially to the young ones.