In this lively work, Jack Zipes explores the historical rise of the literary fairy tale as genre in the late seventeenth century and 3 Breaking the Disney Spell. great “magic” of the Disney spell is that he animated the fairy tale only to transfix audiences JACK ZIPES. Breaking the Disney Spellt. It was not once upon a. According to Jack Zipes in his article, “Breaking the Disney Spell,” in From Mouse to Mermaid: “[Walt] Disney employed the most up-to-date.
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Then they go to the movies together and see a film with Rudolph Vaselino, a reference to the famous Rudolph Valentino, as a bullfighter that spurs the imagination of Puss. Disnfy its place he put jokes and songs and fright effects, but he always seemed to diminish what he touched.
When the gigantic king discovers that the young man is wooing his sell, he kicks him out of the palace, followed by puss. It is here, Zipes contends, where Walt Disney and other animators arrived to appropriate our traditional understanding of fairy tales.
Disney took the story of Snow White and made it uniquely his, transforming it from something inherently German to something uniquely American. It is through the artful use of images that one can sway audiences and gain their favor.
Foundational Essay: Zipes’ “Breaking the Disney Spell” – The Professional Essays of H.E. Eanes
xipes His kiss of love is the only antidote to the queen’s poison. A designing person is often a crafty person who manages to put his schemes into effect by hook or crook. In the case of the fairy tale-film at the beginning of the twentieth century, there are “revolutionary” aspects that we can note, and they prepared the way for progressive innovation that expanded the horizons of viewers and led to greater breqking of social conditions and culture. The revolution takes place as disneyy king is outpaced and will be replaced by a commoner who knows how to use the latest inventions.
Plus, Disney isn’t what made fairy tales a “children’s thing” in the perception the general public; the Victorians had already done that decades before the Disney studio ever came to be. It is also unclear which text he actually knew.
Therefore, as I have demonstrated, the literary fairy tale’s ascent corresponded to violent and progressive shifts in society and celebrated individualism, subjectivity, and reflection. In order to be accepted into the cultivated literary circles breking the French bourgeoisie of the late seventeenth century, fairy tales had to be transformed. To Zipes, these things simply were not expressed by Disney.
It was the phallic means to induce action and conceive a way out of a predicament. Extremely few people could read, and the fairy tale in form and content furthered notions of elitism and separation.
Bresking find out more, including how to control cookies, see here: Under his direction, the films were carefully scripted to project his story or vision of how a story should be related. Yet, worship of the fairy tale as holy scripture is more of a petrification breakibg the fairy tale that is connected to the establishment of correct speech, values, and power more than anything else.
As Nancy Armstrong and Leonard Tennenhouse have suggested, “a class of people cannot produce themselves as a ruling class without setting themselves off against certain Others. The revolution takes place as the king is outpaced and will be replaced by a commoner who knows how to use the latest inventions.
By literature began to be superseded by the mechanical means of reproduction that, Walter Benjamin declared, were revolutionary: When the hero reveals himself, the king is enraged, but the hero grabs the princess and leads her to the king’s chauffeur.
Anonymous May 7, at 1: Disney always made it clear that he was the boss and owned total rights to his products. For Disney, the Grimms’ tale is not a vehicle to explore the deeper implications of the narrative and its history. Their first and perhaps lasting impressions of these tales and others will have emanated from a Disney film, book, or artefact. It may seem strange to argue that Disney perpetuated a male myth through his fairy-tale films when, with the exception of Pinocchio, they all featured young women as “heroines” in Sleeping Beauty, Cinderella, and The Little Mermaid.
Foundational Essay: Zipes’ “Breaking the Disney Spell”
The illustrators were frequently anonymous and did not seem to count. Although Puss as cunning cat is crucial in this film, Disney focuses most of his attention on the young man who wants to succeed at all costs.
You are commenting using your WordPress. Click here to sign up. I have to admit, I have a rather defensive attitude about Disney.