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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.
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.
Gerald tells of the very unusual animals he would add to the zoo, if he were in charge.
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
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.
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.
America is a corporatized society defined by a culture of consumerism, and the youth market is one of the groups that corporations target most. By marketing directly to children, through television, movies, radio, video games, toys, books, and fast food, advertisers have produced a 'kinderculture'. In this eye-opening book, editor Shirley R. Steinberg reveals the profound impact that our purchasing-obsessed culture has on our children and argues that the experience of childhood has been reshaped into something that is prefabricated. Analyzing the pervasive influence of these corporate productions, top experts in the fields of education, sociology, communications, and cultural studies contribute incisive essays that students, parents, educators, and general readers will find insightful and entertaining. Including seven new chapters, this third edition is thoroughly updated with examinations of the icons that shape the values and consciousness of today's children, including Twilight, True Blood, and vampires, hip hop, Hannah Montana, Disney, and others.
This advanced textbook critically reviews a range of theoretical and empirical work on gendered discourses, and explores how gendered discourses can be identified, described and named. It also examines the actual workings of discourses in terms of construction and their potential to 'damage'. For upper-level undergraduates and graduate students in discourse analysis, gender studies, social psychology and media studies.
"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.
The classic, critical and humorous study of cultural imperialism and children's literature; how the Disney fantasy world reproduces the "American Dream" fantasy world, and the disastrous effect of Disney comics and other "mass" cultural merchandise on the development of the so-called "Third" World. In 1973 this work was banned and burned in Chile, and later the English edition was banned for more than a year by the US government. In comic book format with cartoon examples, introduction by David KUNZLE on the Disney world, a bibliography of left writings on cultural imperialism and the comics, and an appendix by John Shelton LAWRENCE on the book's US censorship and the legal-political issues involved in the right to criticize Disney