As reality theater The Picture of Snow White (1994) demonstrates how certain fragments of reality can function as the material of the performance, and at first glance The Picture of Snow White ...resembles the readymade’s approach to form.
This chapter explains some sort of feminist transformation from Snow White to Moana. There are four waves of feminist philosophy which can help us understand the progressing role of Disney princesses ...since Snow White's debut in 1937. Disney's three waves of princesses reflect the waves of feminism from which they emerge. In subtle but profound ways, Disney princesses have evolved as each wave of feminism has crashed upon the shores of culture. They shift people's focus from reinforcing patriarchy, to challenging it, and finally turning it on its head, redefining their very understanding of what it means to be feminine and masculine. The implication is that equality is not based on making women and men equal to one another, but rather on making them balanced within themselves. Going forward, people can only imagine what the next batch of Disney princesses will offer.
Fairy tales are the stories everyone knows, for sharing them from generation to generation is a long-standing convention. The Hollywood film industry has taken the retelling these fables to heart, ...imbuing cinematic offerings with social and cultural ideology while employing them as means of attaining commercial and economic success. As a case in point, this thesis will explore two Hollywood adaptations of the "Snow White" fable released in 2012, Mirror Mirror and Snow White & The Huntsman. I will lay the framework for my discussion by first surveying the foundational "Snow White" text penned by the Brothers Grimm and then the iconic Disney animated classic Snow White and the Seven Dwarf, thus establishing the fable's early ethos of patriarchy and powerful cinematic voice. The discussion will then move to the two Hollywood adaptations to explore how each film transitions the tale into the 21st century by reflecting on current sociopolitical concepts, such as female agency and gender roles, while doing what Hollywood loves to do most, create substantial commercial and economic return.
In the author's dual identities of Disney fanatic and philosopher of disability, he was as delighted as a five‐year‐old on their first trip to the Magic Kingdom to see the progress that Disney had ...made in Finding Dory by depicting what philosophers call the social model of disability. In contrast to the social model of disability, people often see the medical model, in which disability is understood as an individual problem to be remedied through medical treatment or charity. Not to get too far ahead of themselves, but Dopey from Snow White is a perfect illustration of a character with a disability portrayed in terms of the medical model. Keep pondering that while people consider a darker side to the Finding Dory disability paradise, one that reveals it is only a wonderful world for those who can speak.
An Interview with Fiona French Lewis, David
Children's literature in education,
12/2005, Letnik:
36, Številka:
4
Journal Article
Recenzirano
In this interview Fiona French discusses her work and career with David Lewis. She describes early influences and stresses her lifelong love of colour and pattern. Amongst other themes she considers ...the factual basis of most of her books and her lack of interest in fantasy; her preference for clear, simple prose; her constant shifts in style and approach and the increasing freedom of expression she has developed over a long career.
Director Denise Ruemping, RCT's education director, has come up with a version of the "Snow White" that has more edge and depth to it than more well-known editions, but is still magical and colorful ...enough to entrance children.
When it came time for Denise Ruemping to choose which version she would direct for Rochester Civic Theatre, she avoided the best-known -- the Disney version.
Walt Disney stands in relation to the twentieth century as the Brothers Grimm did to the nineteenth century. Disney took their work, and the writings of numerous other authors, and retold their tales ...through animation and film with such consummate skill that they became the modern definitive versions. As in the case of Snow White and the Seven Dwarfs, Disney also reshaped the stories to reflect his vision of American values.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
50.
Beauty and the Belles Craven, Allison
The European journal of women's studies,
05/2002, Letnik:
9, Številka:
2
Journal Article
Recenzirano
This article presents a critical analysis of Disney's animated film and stage production of Beauty and the Beast, especially of the heroine, Belle, within a more general and brief historiography of ...the fairy tale. It is argued that Disney's version displaces the heroic focus from Belle (Beauty) to Beast, while also narrating a response to feminism that involves compressing feminist ideology into conventions of popular romance. The broader representation of femininity in Disney is also examined with reference, particularly, to Snow White and the Seven Dwarfs, and with reflections also on non-fictional characters from media with a relationship to Disney, specifically, Diana Princess of Wales, (Mrs) Lillian Disney and Ellen DeGeneres. Teresa de Lauretis's `elsewhere of vision' is introduced to disrupt and rewrite the domesticating effects of Disney's feminism on its heroines.
