Ferris Bueller: Eighties Trickster
Ferris Bueller: 80s Trickster
In folklore the trickster is vastly important; they are often times both the hero and the villain in their stories. Their classification is also one of the most specific in storytelling, needing to be a mediator, a shape shifter, and display amorality to be classified as a true trickster. Every culture seems to have their own version of the trickster; the Norse had Loki, the people from Ghana had Anansi, and the Greeks had Prometheus. Just as it is in folklore, films often utilize the trickster archetype and none more so than John Hughes’ Ferris Bueller’s Day Off. Ferris displays the classic characteristics of a trickster; he mediates between parties of people, applies “shape shifting” by the way of disguises, and displays quite a bit of amorality throughout the film. These actions call to mind the myths of Loki and Anansi as they both have stories that possess similar elements to Ferris’ adventure.
As the classification demands, Ferris has moments when he acts as a mediator, “shape shifts”, and behaves quite amorally. Over the course of the film, Ferris acts as a mediator between all types of parties: between different cliques, students and administration, adults and teenagers, high brow and low brow alike. “Well, he's very popular, Ed. The sportos, the motorheads, geeks, sluts, bloods, wasteoids, dweebies, dickheads — they all adore him. They think he's a righteous dude.” (FBDO, 14:40-:55) He flits between the defined social distinctions and charms everyone he comes into contact with. His parents’ financial status allows for him to be in possession of technology that grants him access to the school’s records, permitting him to change not only his number of absences but also to seemingly do the same for other students. When he interacts with other students, how infrequently it is on screen, he does not seem to care very much their age or social status in the high school pecking order; he treats all
In folklore the trickster is vastly important; they are often times both the hero and the villain in their stories. Their classification is also one of the most specific in storytelling, needing to be a mediator, a shape shifter, and display amorality to be classified as a true trickster. Every culture seems to have their own version of the trickster; the Norse had Loki, the people from Ghana had Anansi, and the Greeks had Prometheus. Just as it is in folklore, films often utilize the trickster archetype and none more so than John Hughes’ Ferris Bueller’s Day Off. Ferris displays the classic characteristics of a trickster; he mediates between parties of people, applies “shape shifting” by the way of disguises, and displays quite a bit of amorality throughout the film. These actions call to mind the myths of Loki and Anansi as they both have stories that possess similar elements to Ferris’ adventure.
As the classification demands, Ferris has moments when he acts as a mediator, “shape shifts”, and behaves quite amorally. Over the course of the film, Ferris acts as a mediator between all types of parties: between different cliques, students and administration, adults and teenagers, high brow and low brow alike. “Well, he's very popular, Ed. The sportos, the motorheads, geeks, sluts, bloods, wasteoids, dweebies, dickheads — they all adore him. They think he's a righteous dude.” (FBDO, 14:40-:55) He flits between the defined social distinctions and charms everyone he comes into contact with. His parents’ financial status allows for him to be in possession of technology that grants him access to the school’s records, permitting him to change not only his number of absences but also to seemingly do the same for other students. When he interacts with other students, how infrequently it is on screen, he does not seem to care very much their age or social status in the high school pecking order; he treats all