Of Walt And Wald Power And Gender In East German And Us American Fairy Tale Film Adaptations
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| Author | : Brandy E. Wilcox |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2023 |
| Genre | : |
| ISBN | : |
The fairy-tale adaptations of Jacob and Wilhelm Grimm's tales in the United States and East Germany expand the punishments for women who misbehave by acting contrary to expected gender roles within the gendered power hierarchy. Although fairy tales and fairy-tale film have been extensively studied in scholarship, this dissertation provides a comparative study of power and gender dynamics from the fairy tales of Jacob and Wilhelm Grimm's Kinder- und Hausmärchen (Children's and Household Tales, or KHM) and their cinematic adaptations in East Germany and the United States. Focusing on two specific tales-"Der Froschkönig oder der eiserne Heinrich" ("The Frog King or Iron Henry," Grimm 1812) and "Rapunzel" (Grimm 1812)-I examine the gendered dynamics of power and status as they exist within the referent Grimm tales and the adaptation of these dynamics in the fairy-tale films from the East German Deutsche Film-Aktiengesellschaft (DEFA) and the US-American Walt Disney Company. Alongside a thematic analysis of power, status, and gender for these two tales across these three corpuses, I demonstrate how these power dynamics and the expanded punishments for women who defy them indicate a continued power hierarchy of gender in fairy tales which mirrors that of both the socialist East Germany and the capitalist United States. Male protagonists have power over villains and female protagonists, villains have power over female protagonists, and female protagonists have power only over animals. My study analyzes three categories of 'misbehavior' for women in these fairy tales and their adaptations-lying and deception, the wish for advancement and higher status, and the enactment of anger and rage. When a female protagonist reverses the direction of the power hierarchy-e.g., lying to a villain or deceiving a male protagonist-the fairy-tale films from DEFA and Disney present greater extremes in the protagonist's loss of bodily autonomy and atonement than what occurs in the Grimm tales. These gendered consequences for female misbehavior reflect not only the 19th-century assumptions and expectations of gender roles still present in modern fairy tales, but the expanded punishments indicate the continuity of those expectations for the behavior of women in society today.
| Author | : Dorothea Wolschak |
| Publisher | : GRIN Verlag |
| Total Pages | : 22 |
| Release | : 2014-07-04 |
| Genre | : Literary Collections |
| ISBN | : 3656689652 |
Seminar paper from the year 2013 in the subject American Studies - Literature, grade: 2,0, Catholic University Eichstätt-Ingolstadt, language: English, abstract: Once upon a time – 200 years ago to be precise – two brothers put down a collection of previously orally bequeathed wondrous and fantastic stories that would continue to amaze children and adults all over the world. These so-called folktales or fairy tales with their simple stories, magical characters and educational morals fascinated people for hundreds of years. The stories written down by the brothers Grimm represent the sociohistoric and cultural context from their time. As the world changes old styles of oral storytelling give way to newer ones, particularly technologically advanced ways of narration: books, CDs, DVDs, video games, cinema, et cetera. Although there are numerous newer fantastic stories such as Star Wars, The Lord of the Rings or Harry Potter, the fairy tales' timeless themes like good versus evil, love, friendship, fear and bravery still reappear in contemporary narrative media. Today these fairy stories are still engaging for children, teenagers as well as adults. However, one may not find them very often being told in gloomy, fire-lit spinning rooms or read aloud at children's bedsides any more, but rather on a huge screen with surround sound, special visual effects in 3D and lots of popcorn and candy to nibble. One of the most popular of Grimms' folktales is S(ch)neewittchen (KHM 53), internationally known as Snow White, Snow Drop, Blanche-neige or Blanca Nieve. No doubt, Snow White is “die beliebteste, meistillustrierte, meist-verfilmte, aber auch vielfach parodierte und verkitschte Figur der Kinder- und Hausmärchen [der Gebrüder Grimm]”. The tale of Little Snow White has been transformed into many media during the last 200 years, however, Walt Disney's Snow White and the Seven Dwarfs from 1937 is supposedly THE classic feature-length animated fairy film par excellence. Since the film won a special Oscar and was one of the most successful films of the 1930s, it was a milestone in the career of the Disney studios and the genre of fairy tales as well. “Der Welterfolg dieses Filmes ist ungebrochen. Noch im Jahre 2001, 64 Jahre nach der Premiere und rechtzeitig zum 100. Geburtstag Walt Disneys, erlebte der Streifen ein Comeback als Video-Kasette für das Heimkino”. (...)
| Author | : Katharina Dorn |
| Publisher | : GRIN Verlag |
| Total Pages | : 20 |
| Release | : 2017-09-19 |
| Genre | : Literary Criticism |
| ISBN | : 3668528527 |
Seminar paper from the year 2017 in the subject German Studies - Comparative Literature, grade: 2,2, Justus-Liebig-University Giessen, language: English, abstract: Are princesses still living happily ever after or did they change? This paper seeks out to answer this question by a taking a look at fairy tales and their Disney movie adaptions. It will be argued that a comparison of Disney films and traditional fairytales offers a great possibility to teach gender. The goal of this paper is, therefore, to enhance the understanding of older and newer storytelling concerning gender and its benefits for teaching English as a foreign language. Listening to marvelous tales and stories is and has always been omnipresent in children’s life. Everyone knows the Brothers Grimm and Disney who are popular for their fantastic stories. These stories have been patterns for many Disney movies that have become omnipresent and essential in todays media. Especially Disney is very popular among young students. It is obvious that children are likely to identify with these stories. Consequently, it is important to analyze views and values that are presented in these newer films in comparison to older and more traditional Grimm fairytales. The first part of this paper offers a description of gender roles and depictions in Grimm and Disney in order to promote the understanding of the two genres. Moreover, there will be a focus on the development of Disney's gender depiction because of the obvious change in their portrayal of female characters. In the second part, then, these theoretical ideas and background information are applied to two concrete stories by Grimm and Disney. Firstly, the fairytale "Der Froschkönig oder der eiserne Heinrich" will be analyzed concerning its depiction of gender. Secondly, Disney’s adapted film "The Princess and the Frog" will also be analyzed according to its depiction of gender and the change that has been made since Grimm's story. The third part deals with the concrete benefits of teaching gender through these two stories. This chapter will also focus on the teaching potential of these Disney films and the learning outcome. To sum up, the third part of this work illustrates the potential that a comparison of Grimms' and Disney’s depiction of gender offers.
| Author | : Anna Winkelmann |
| Publisher | : GRIN Verlag |
| Total Pages | : 15 |
| Release | : 2013-01-02 |
| Genre | : Literary Collections |
| ISBN | : 365634339X |
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 | : |
| Publisher | : GRIN Verlag |
| Total Pages | : 27 |
| Release | : 2018-01-06 |
| Genre | : Performing Arts |
| ISBN | : 3668604037 |
Seminar paper from the year 2017 in the subject Communications - Movies and Television, grade: 1,3, University of Duisburg-Essen (Department of Anglophone Studies), course: Applied Linguistics, language: English, abstract: Media is a big part of people’s everyday lives. It influences both how we see ourselves and how the world sees us. Media can be divided in many different types, for example: television, shows, movies, the radio, newspapers, advertisements and the internet. One of the most famous producers of children’s media is the Walt Disney Company. Since 1937 many movies, shows and other products were designed and published in order to entertain children. Thus, results a huge influence on children’s perception of the world and how they see themselves in the world. In all of them are images of women and men, which are represented in different ways and with different traits. One popular production of Disney is the Disney princess line which was created 2001 and includes more than 25,000 different products. Currently, the line includes ten movies; four of them will be analysed in this term paper: "Snow White and the Seven Dwarfs" (1937), "Pocahontas" (1995), "Tangled" (2010) and "Frozen" (2013). These movies have an influence on children and their images of gender roles. But, how are gender roles represented in these movies and is there a remarkable change over time? This term paper will give an overview about the most influential movies of the Disney Princess line and how the image of female characters is presented. It is difficult to analyse all aspects of gender roles but the most obvious ones are regarded and how many differences exist in these four movies.
| Author | : Sarah Wenzel |
| Publisher | : GRIN Verlag |
| Total Pages | : 24 |
| Release | : 2019-06-18 |
| Genre | : Social Science |
| ISBN | : 3668960321 |
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.
| Author | : Dana M. DiLullo Gehling |
| Publisher | : |
| Total Pages | : 270 |
| Release | : 2018 |
| Genre | : |
| ISBN | : |
Since the late 1960s and early 1970s, critical scholarship concerning the fairy tale genre has done much to address the social, historical, cultural, and national motivations behind transformations of the fairy tale from a European starting point. However, the fairy tale's development in the United States, including both its media-based adaptations and literary extensions, has been given limited attention. While the significance of Walt Disney's animated films to the American fairy tale tradition has been addressed (by literary and film scholars alike), an interdisciplinary study drawing together Disney's European and early twentieth century precursors (from literature, stage, and film); his own influential, modern debut; respondent literary and animated work of his immediate successors; and postmodern and twenty-first century adaptations has not been done. By examining the trajectory of a single tale, Snow White (or for Disney, Snow White and the Seven Dwarfs), this dissertation aims to acknowledge the scholarly attention given to Disney's animated films, while further examining attributes which I suggest have enabled Disney to have a "folkloric impact" on the fairy tale genre in the United States. Disney's work stands upon the bedrock of not only European but American Snow White variations and makes these "new" through an innovative deployment and unification of word or language, sound, and image, unimagined prior to the debut of Snow White and the Seven Dwarfs (1937). The effects of Disney's influence, as a master storyteller, on both the fairy tale genre and commercial market were so profound that this particular version of the tale refuses to be forgotten, its shadow haunting successors who aimed to counter or redefine its understanding of fairy tale in light of shifting American values and culture. Therefore, even as the fairy tale is frequently understood to have moved beyond its folkloric "origins" (I use this term loosely, as the origins of fairy tale are surrounded by controversy), using the critical framework of folklorists Steven Swann Jones and Linda Dégh, as well as filmic folklorists, Sharon R. Sherman and Juwen Zhang, I explore how Disney's patchwork of tradition, new technology, and media generated an easily recognizable and communicable tale, one that would be recalled, repeated, and reformed through adaptation by generations of audiences. These subsequent storytellers, in turn, extend American fairy tale tradition and lore still further.
| Author | : Sonja Blum |
| Publisher | : GRIN Verlag |
| Total Pages | : 29 |
| Release | : 2008 |
| Genre | : Biography & Autobiography |
| ISBN | : 363894638X |
Seminar paper from the year 2007 in the subject American Studies - Culture and Applied Geography, grade: 1,7, University of Osnabrück (Institut für Anglistik/Amerikanistik), course: Introduction to Gender Theory, 28 entries in the bibliography, language: English, abstract: 'How can they tell if I am male or female?' With this last line of 'The Ballad of Mulan' the (anonymous) author raises the gender question already in the 6th century. In this essay, I would like to analyse The Representation of Gender in Walt Disney's 'Mulan', using the structure of the movie to focus on The Protagonist Fa Mulan, the Treatment of Women and the Depiction of Men. Additionally, the inquiry concerning the Meaning of Song Texts in Disney's 'Mulan' appears useful as these always play an important role in conveying movie themes. In order to establish a connection to the seminar on which this paper is based, I will illustrate how the movie is a good example for Judith Butler's theory of Gender as Performance. Last but not least, I would like to show the Influence of Disney's 'Mulan' on Society because fairy tales and movies '[...] do influence the manner in which children conceive the world and their places in it [...]'. Drawing the 'Conclusion', I will try a careful approach to find out if Disney's 'Mulan' might even be considered as a feminist movie. (...)
| Author | : Gabriella Aguilar |
| Publisher | : GRIN Verlag |
| Total Pages | : 7 |
| Release | : 2013-04-03 |
| Genre | : Literary Criticism |
| ISBN | : 3656399778 |
Essay from the year 2013 in the subject Literature - Comparative Literature, Boston University, course: Fairy Tales and Literature, language: English, abstract: In classic fairy tales, the main character is, more often than not, a female figure. She is usually innocent, sweet, and beautiful, and the tale revolves around her. Beneath this surface, however, one can see many different depictions of female figures in fairy tales. Fairy tales evolve over time through different versions told by different authors, and "Rapunzel" is no exception. One of the very first renditions of the tale appeared as a short story by the Italian writer Giambattista Basile, published in 1637. However, the story did not gain popularity until after 1857, the year it was published by The Brothers Grimm. This later version differed from its predecessor because of its depiction of females as weak and helpless, reflecting society's concrete view of gender roles at the time in which it written. The story essentially evolved from Basile's neutral standpoint to a misogynistic tale that is the most common version of "Rapunzel" today. The Grimms' version of "Rapunzel" was also the first to be targeted to children. Therefore, their rendition continued to gain popularity as it was passed from one generation's children to the next, which contributed to how it became the most well-known version of the story. Attempts at eliminating the gender bias present in the Grimms' version and restoring the original tale through modern retellings of the story have been made, and one of these attempts is the Disney film Tangled. However, these efforts ultimately fail since society is most comfortable with the version they know so well, which includes the use of heroic male characters and weak females. In the version of "Rapunzel" by The Brothers Grimm, the reader is ultimately taught that women are nothing without men. This is not an accurate or appropriate representation of females, but this version's success suggests that it is a concept that society continues to support today.
| Author | : Douglas Brode |
| Publisher | : Rowman & Littlefield Publishers |
| Total Pages | : 0 |
| Release | : 2016 |
| Genre | : Film adaptations |
| ISBN | : 9781442266063 |
This collection of essays examine how the Disney studio has re-interpreted-for better or worse-classic literature into films both treasured and disdained. The films discussed in this volume include Bambi, The Hunchback of Notre Dame, Peter Pan, Sleeping Beauty, Snow White and ...
