Disney vs. Fairy Tale: Representations of culture and stereotyping through language according to the main character in "Beauty and the Beast" PDF Download
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Author: Anna Winkelmann
Publisher: GRIN Verlag
ISBN: 365634339X
Category : Literary Collections
Languages : en
Pages : 18
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Book Description
Seminar paper from the year 2012 in the subject American Studies - Culture and Applied Geography, grade: 3.0, University of Osnabrück (Anglistik), course: Linguistics@schools, language: English, abstract: In 1937 when Walt Disney released his first movie Snow White and the Seven Dwarfs, a completely new era of language acquisition started. The former fairy tales were turned into movies and instead of old complicated language, easier and child friendly language was established. The former, sometimes brutal, fairy tales were changed to convey a different message, the core of the story often stayed the same but the plot around the central issue was changed. The same is true for Beauty and the Beast. By supporting his films with music and accents, Walt Disney invented a new kind of storytelling. By answering the questions: How do Disney and the fairy tale present the female main character? Is it easier for children to understand the character traits of a person by only hearing about them or by simultaneously seeing the character act? Which cultural representations can be found in movie and fairy tale and what influence do they have on the language of the main character? Which kinds of stereotypes appear and how are they presented? Is the presentation of Bella in the fairy tale still current today or is it too old-fashioned? I will compare the fairy tale Beauty and the Beast (La Belle et la Bête) of 1740 by Gabrielle-Suzanne Barbot, Dame de Villeneuve, with the same-titled movie by Walt Disney.
Author: Anna Winkelmann
Publisher: GRIN Verlag
ISBN: 365634339X
Category : Literary Collections
Languages : en
Pages : 18
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Book Description
Seminar paper from the year 2012 in the subject American Studies - Culture and Applied Geography, grade: 3.0, University of Osnabrück (Anglistik), course: Linguistics@schools, language: English, abstract: In 1937 when Walt Disney released his first movie Snow White and the Seven Dwarfs, a completely new era of language acquisition started. The former fairy tales were turned into movies and instead of old complicated language, easier and child friendly language was established. The former, sometimes brutal, fairy tales were changed to convey a different message, the core of the story often stayed the same but the plot around the central issue was changed. The same is true for Beauty and the Beast. By supporting his films with music and accents, Walt Disney invented a new kind of storytelling. By answering the questions: How do Disney and the fairy tale present the female main character? Is it easier for children to understand the character traits of a person by only hearing about them or by simultaneously seeing the character act? Which cultural representations can be found in movie and fairy tale and what influence do they have on the language of the main character? Which kinds of stereotypes appear and how are they presented? Is the presentation of Bella in the fairy tale still current today or is it too old-fashioned? I will compare the fairy tale Beauty and the Beast (La Belle et la Bête) of 1740 by Gabrielle-Suzanne Barbot, Dame de Villeneuve, with the same-titled movie by Walt Disney.
Author: Dr. Seuss
Publisher: Random House Books for Young Readers
ISBN: 0394800818
Category : Juvenile Nonfiction
Languages : en
Pages : 63
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Book Description
Gerald tells of the very unusual animals he would add to the zoo, if he were in charge.
Author: Pauline Greenhill
Publisher: University Press of Colorado
ISBN: 0874217822
Category : Social Science
Languages : en
Pages : 452
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Book Description
This ISBN refers to the ebook edition of this text, available directly from the publisher. It has erroneously been listed as paperback by some online vendors. The true paperback edition is indeed available at online vendors. Paste this ISBN into the search box: 9780874217810. In this, the first collection of essays to address the development of fairy tale film as a genre, Pauline Greenhill and Sidney Eve Matrix stress, "the mirror of fairy-tale film reflects not so much what its audience members actually are but how they see themselves and their potential to develop (or, likewise, to regress)." As Jack Zipes says further in the foreword, “Folk and fairy tales pervade our lives constantly through television soap operas and commercials, in comic books and cartoons, in school plays and storytelling performances, in our superstitions and prayers for miracles, and in our dreams and daydreams. The artistic re-creations of fairy-tale plots and characters in film—the parodies, the aesthetic experimentation, and the mixing of genres to engender new insights into art and life— mirror possibilities of estranging ourselves from designated roles, along with the conventional patterns of the classical tales.” Here, scholars from film, folklore, and cultural studies move discussion beyond the well-known Disney movies to the many other filmic adaptations of fairy tales and to the widespread use of fairy tale tropes, themes, and motifs in cinema.
Author: Amy M. Davis
Publisher: Indiana University Press
ISBN: 0861969014
Category : Social Science
Languages : en
Pages : 281
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Book Description
An in-depth view of the way popular female stereotypes were reflected in—and were shaped by—the portrayal of women in Disney’s animated features. In Good Girls and Wicked Witches, Amy M. Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form—the heroine of the animated film—that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found. “A fascinating compilation of essays in which [Davis] examined the way Disney has treated female characters throughout its history.” —PopMatters
Author: Elizabeth Bell
Publisher: Indiana University Press
ISBN: 0253116163
Category : Performing Arts
Languages : en
Pages : 279
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Book Description
A collection of essays that explicate Disney ideology through fifty-five years of feature films, including Bambi, Beauty and the Beast, Pinocchio, and more. From Mouse to Mermaid, an interdisciplinary collection of original essays, is the first comprehensive, critical treatment of Disney cinema. Addressing children’s classics as well as the Disney affiliates’ more recent attempts to capture adult audiences, the contributors respond to the Disney film legacy from feminist, marxist, poststructuralist, and cultural studies perspectives. The volume contemplates Disney’s duality as an American icon and as an industry of cultural production, created in and through fifty years of filmmaking. The contributors treat a range of topics at issue in contemporary cultural studies: the performance of gender, race, and class; the engendered images of science, nature, technology, family, and business. The compilation of voices in From Mouse to Mermaid creates a persuasive cultural critique of Disney’s ideology. The contributors are Bryan Attebery, Elizabeth Bell, Claudia Card, Chris Cuomo, Ramona Fernandez, Henry A. Giroux, Robert Haas, Lynda Haas, Susan Jeffords, N. Soyini Madison, Susan Miller, Patrick Murphy, David Payne, Greg Rode, Laura Sells, and Jack Zipes. “In this volume of 16 essays about Disney films, several pieces . . . begin the work of filling in a major gap in our understanding of animation.” —Film Quarterly
Author: Jill Terry Rudy
Publisher: Routledge
ISBN: 1000092984
Category : Literary Criticism
Languages : en
Pages : 177
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Book Description
This concise and accessible critical introduction examines the world of popular fairy-tale television, tracing how fairy tales and their social and cultural implications manifest within series, television events, anthologies, and episodes, and as freestanding motifs. Providing a model of televisual analysis, Rudy and Greenhill emphasize that fairy-tale longevity in general, and particularly on TV, results from malleability—morphing from extremely complex narratives to the simple quotation of a name (like Cinderella) or phrase (like "happily ever after")—as well as its perennial value as a form that is good to think with. The global reach and popularity of fairy tales is reflected in the book’s selection of diverse examples from genres such as political, lifestyle, reality, and science fiction TV. With a select mediagraphy, discussion questions, and detailed bibliography for further study, this book is an ideal guide for students and scholars of television studies, popular culture, and media studies, as well as dedicated fairy-tale fans.
Author: Jack Zipes
Publisher: Routledge
ISBN: 1135204349
Category : Literary Criticism
Languages : en
Pages : 350
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Book Description
In his latest book, fairy tales expert Jack Zipes explores the question of why some fairy tales "work" and others don't, why the fairy tale is uniquely capable of getting under the skin of culture and staying there. Why, in other words, fairy tales "stick." Long an advocate of the fairy tale as a serious genre with wide social and cultural ramifications, Jack Zipes here makes his strongest case for the idea of the fairy tale not just as a collection of stories for children but a profoundly important genre. Why Fairy Tales Stick contains two chapters on the history and theory of the genre, followed by case studies of famous tales (including Cinderella, Snow White, and Bluebeard), followed by a summary chapter on the problematic nature of traditional storytelling in the twenty-first century.
Author: J. Phillips
Publisher: Springer
ISBN: 0230596339
Category : Social Science
Languages : en
Pages : 205
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Book Description
This is an exploration of the cultural representations of transvestism and transsexuality in modern screen media against a historical background. Focussing on a dozen mainstream films and on shemale Internet pornography, this fascinating study demonstrates the interdependency of our perceptions of transgender and its culturally constructed images.
Author: Naomi Klein
Publisher: Macmillan
ISBN: 9780312203436
Category : Business & Economics
Languages : en
Pages : 520
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Book Description
"What corporations fear most are consumers who ask questions. Naomi Klein offers us the arguments with which to take on the superbrands." Billy Bragg from the bookjacket.
Author: Sarah Wenzel
Publisher: GRIN Verlag
ISBN: 3668960321
Category : Social Science
Languages : en
Pages : 24
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Book Description
Seminar paper from the year 2014 in the subject Cultural Studies - Miscellaneous, grade: 1,0, University of Würzburg (Philosophische Fakultät I), course: Feminism in the U.S.: History, Ideas, and Politics, language: English, abstract: Bewitched by the magical atmosphere these films create, millions of girls are dreaming of becoming a Disney princess one day. Seeing girls and boys re-enact these fairy tales and in that way slip into the role of a princess the thought struck me in the context of my seminar about Feminism, in what way these movies influence children. Which concepts of womanhood do they foster and are these fairy tales really as timeless as the grandparents think they are? Taking a closer look at the most successful and best known of all Disney princess movies, there are basically three waves, defined by their date of release. The first feature-length animated film Disney created was a story based on the Brother Grimm fairy tale “Schneewittchen”. The Disney movie Snow White and the Seven Dwarfs was premiered in 1937 and was an instant success, followed by Cinderella in 1950 and Sleeping Beauty in 1959. The next wave of princess movies were produced between 1989, starting with Little Mermaid, followed by Beauty and the Best (1991), Aladdin (1992), Pocahontas (1995) and ending in 1998 with Mulan, so basically during the 1990s. The latest wave of Disney princess films is from 2009 on with The Princess and the Frog, then Tangled (2010), Brave (2012) and the last one was Frozen (2013). This is an enormous timeframe. The 1930s, 40s and 50s provided a completely different audience than the 1990s or the current decade, as society and especially gender roles changed a lot over time. Consequently one can also expect differences in the way the Walt Disney Company chose to depict its characters over the years. This research paper will show that female gender roles in Disney princess movies respond to the change of society by portraying their Disney heroine much more assertive and less passive over time. To support this thesis one movie from each of the three waves which were introduced above will be analyzed exemplary for the period.
