This article analyses two heterodox versions of the fairy tale Snow White: on the one hand, the homonymous play written in 1901 by the Swiss writer Robert Walser; on the other hand, the film directed ...by the Portuguese filmmaker Joäo César Monteiro in 2000. From the parameters of the relationship between Literature and other Arts (especially with Cinema) we obtain semantic, iconographic keys that allow us to interpret the popular story from a classical mythology perspective as well as from the femme fatale archetype coined in the 19th century.
This paper is an investigation into writing that describes, and in many ways objectifies and marginalises, the queer. Specifically, the paper looks at the fairytale, and discusses how such narratives ...might be rewritten by authors informed by Queer Theory. This analysis is undertaken to reflect on, theorise, and position the creative writing strategies and practice of queer writers working within the field of fairytale fiction.
This article reconsiders the concept of innocence in relation to animated films for children, focusing particularly on Disney but additionally drawing on examples from other traditions. The author ...argues that the notion of innocence within these films is potentially double-edged, encompassing both actively transformative and more vulnerable, passive properties. Children's animation is not simply culturally conservative, however, but also rehearses other possibilities, often in a playful form. The article suggests that what children learn from Disney and other animated films is shaped in complex ways by responses to the quality of innocence with which such films are so often imbued.
With the release of The Princess and the Frog (Ron Clements and John Musker, 2009) the phrase ‘Classic Disney’ has re-entered popular discussion. Unfortunately, the concept of ‘Classic Disney’ has ...evolved in recent years, developing from a seemingly straightforward term featured in numerous discussions of Disney, to one which lacks the specificity required to support ‘shorthand’ critical engagement with the studio’s animated features. This article develops the neologism ‘Disney-Formalism’ as a potential alternative to the term ‘Classic Disney’, referring to the formation, and continuation, of the aesthetic style forged in the films Snow White and the Seven Dwarfs (David Hand, 1937), Pinocchio (Ben Sharpsteen et al., 1940), Dumbo (Ben Sharpsteen, 1941), and Bambi (David Hand, 1942).
Mark Garcia, Senior Lecturer in History and Theory in the Department of Architecture, University of Greenwich, explores the technologically mediated future of drawings in architecture ‘without ...hands’. He highlights how multiple technological innovations are putting us on the brink of an exploding spectrum of possibilities for the image, and looks at three distinct areas of potential: new media and materials; emerging and future technologies; and theory embodied in fiction and art.
The Disney Princess film is among Walt Disney Animation Studios’ most iconic, popular, and profitable media properties. While the studio’s production of princess films has fluctuated since the late ...1930s, the animated singing princess has become largely synonymous with the Disney brand. As texts centered on and historically marketed to young girls, Disney Princess films also figure heavily in popular and academic debates over the representation of women, gender, and femininity in Disney animation. By contrast, relatively little work attends to the critical role the voice plays within the gendered representational economies of the Disney Princess film. To extend and deepen extant understandings of these gendered dynamics, this chapter begins by tracing the history of female vocality in Disney Princess films of the 1930s to the late 2000s. The study then turns to a close analysis of the relationship between the voice, identity, agency, and female (inter) subjectivity in two recent iterations of the Disney Princess film: Brave and Frozen.
