When the word “fairytale” is mentioned, nearly everyone thinks of light-hearted stories with friendly characters and happy endings. However, these are not the ideas that classic fairytales originally sparked. In fact, numerous modern Disney movies were based off stories that were not so sugar coated. In the 19th century, the Brothers Grimm were responsible for multiple of these popular children’s tales. The Disney remakes of classic fairytales such as Cinderella, Tangled, and Snow White exclude the dark, twisted themes that are significant in the Brothers Grimm fairytales, because society tendencies continue to evolve toward sheltering and overprotecting young children. Originating in Germany, the Brothers Grimm, also known as Jacob and Wilhelm, took an interest in folktales. This interest truly sparked when a man at school told them of a library filled with old books. From both books and folktales that were often told to them by women, the brothers began collecting their own group of stories. After graduating from the University of Marburg, the brothers moved to Gottingen, where they held positions as librarians and professors (Grimm). They eventually began working on their own tales, which were originally not aimed toward children. The brothers “viewed themselves as patriotic folklorists, not as entertainers of children.” Jacob and Wilhelm intended to “save the endangered oral tradition of Germany” with their works (O’Neill). During the 19th century, Grimm’s fairytales were strongly disapproved of due to harsh, gruesome details and plots. One American educator from 1885 stated, “The folktales mirror all too loyally the entire medieval worldview and culture with all its stark prejudice, its crudeness and barbarities.” As childre... ... middle of paper ... ...lgeographic.com/grimm/article.html>. Rabison, Rebecca. “Representations of Crime in Disney Films: A Qualitative Analysis.” Wesleyan University Honors College. April 2008. Retrieved 18 Dec 2013 from . Rollin, Lucy. “Fear of Faerie: Disney and the Elitist Critics.” Children’s Literature Association Quarterly Volume 12. Number 2. 1987. Retrieved 18 Dec. 2013 from < http://muse.jhu .edu/journals/chq/summary/v012/12.2.rollin.html>. Smith, Caroline. “The Not So Wonderful Word of Disney.” University of Alabama Arts & Sciences Department. Retrieved 13 Dec. 2013 from < http://www.english.uga.ed u/fyc/barnett/smith2006-07.pdf>. Stephey, M. “The Princess and the Frog.” Time. 9 Dec. 2009. Retrieved 17 Dec. 2013 from < http://entertainment.time.com/2009/12/09/top-10-disney-controversies/>.
Presently, Disney known for its mass media entertainment and amusement parks technically bring warm feelings to many children and some adults. Personally, Disney elicits magical fantasies that children enjoy and further encourages imagination and creativity. For decades Disney has exist as an unavoidable entity with its famous global sensation and reach. Furthermore, Disney is a multibillion dollar empire with an unlimited grasp on individuals and territories. An empire per se, since they own many media outlets, markets, shops, etc., you name it they got it. However, the film Mickey Mouse Monopoly presents an entirely new perspective on the presumed innocence projected in Disney films. This film exposes certain traits Disney employs and exclusively portrays through its media productions, specifically cartoons for directing and nurturing influence beginning with children. Mickey Mouse Monopoly points out camouflaged messages of class, race, and gender issues in Disney films that occur behind the scenes intended to sway viewers towards adopting Disney values.
If children or adults think of the great classical fairy tales today, be it Snow White, Sleeping Beauty, or Cinderella, they will think Walt Disney. Their first and perhaps lasting impression of these tales and others will have emanated from Disney film, book, or artefacts (Zipes 72)
Grimm, Jacob and Wilhelm. “Rapunzel.” Folk and Fairy Tales. Ed. Martin Hallett and Barbara Karasek. Peterborough: Broadview Press, 2002. 67-70.
Alexandrova, Marina. "Disney and The American Princess: The Americanization of European Fairy Tales." America: The New Society (2010): 1-77. Print.
Throughout time we’ve come to terms on different versions of stories that have been altered to fit what we want to read or see for our enjoyment. Having variations of a story can demonstrate what type of audience is in the sight of the creator. The term “disneyfication” is the word to describe the idea of turning a story into a modern day version that creates an illusion to the real story written before. This has happened several times in past decades, where stories are altered to set an example for the audience, whether it’s believing in oneself or getting the job done, to get what you want, is different from the original tale. The comparison between Hans Christian Andersen “The Little Mermaid” and Disney’s “The Little Mermaid,” are a set
However, there are some of you who believe that this thought process is subliminal and Disney is therefore hiding certain race, gender, and sex issues. Now, you Disney fanatics may be thinking that Disney captivates, enthralls through song and animation; criticizing “questioning Disney is like questioning motherhood” (Snow whitey). Yet, as author Janet Wasko puts it: “There is the super fan, who doesn’t question Disney, and then there is the rejecter who wants nothing to do with Disney. The goal that you as the reader will hopefully attain, is to lie somewhere in the middle of the two extremes. Therefore all of you “happy go-lucky” Disney fans all the way down to the “negative nellies” of Disney, my hope is that you will gain a new bit of knowledge through this and open your mind to a variety of opinions.
Perrault, the Brothers Grimm, and the Ownership of Fairy Tales by Donald Haase. The purpose of this article was to discuss who the fairy tales actually belonged to. Fairy tales belong to every culture, therefore they hold ownership in every nation of the world. A common idea that is mentioned in the article is that the tales belong to the "folk," but who are the "folk?" The general definition suggests, "the folk are the common folk, that is, the working or peasant classes" (354) while Giuseppe Cocchiara and Alan Dundes profess different ideas. Cocchiara believes "the identity of the folk transcends classes and is the expression of a certain vision of life, certain attitudes of the spirit of thought, of culture, of custom, of civilization, which appear with their own clearly delineated characteristics" (354). This definition suggests that each fairytale holds a different meaning between the classes of society, what may be a warning to lower classes may just be a hypothetical occurrence to a higher class individual. Each class of society holds its own beliefs, its own way of living with distinct guidelines. Alan Dundes holds quite the opposite definition compared to Cocchiara 's. Dundes ' definition takes a more national view, "defining the folk as any group of people whatsoever who share at least on common factor" (355). The first possible ownership to a fairy tale is formed from Alan Dundes ' definition and that is the view of
Ross, D. (2004). Proquest. “Escape from wonderland: Disney and the female imagination”. Marvels & Tales, 18(1), 53-66,141.
Most modern fairytales are expected to have happy endings and be appropriate for children, nonetheless, in past centuries most were gruesome. Consequently, fairytales have been modified throughout time. The stories “Beauty and the Beast” by Jeanne-Marie LePrince de Beaumont and “The Summer and Winter Garden” by Jacob and Wilherm Grimm share similarities and differences. The two stories are distinct because of the peculiar year they have been written in. LePrince de Beaumont’s story is written in London of 1783 and Grimm’s in Germany of 1812. At the time, wealthy people in London, were educated and had nannies who would read to their children; whereas, in Germany, the Grimm brothers created their own interpretation into a short story. Because many high class parents in 18th century London would not be able to spend time with their children, nannies would read “Beauty and the Beast” to them since they were intended for children and considered appropriate. In “The Summer and Winter Garden,” the Grimm’s’ story was mostly based to entertain misbehaved children and teach them the valuable lesson that everyone should be treated with kindness. The Grimm brothers’ goal in rewriting this short story is to better children’s behavior which worked quite well. Since these stories have been re-written for children, it would be safe to say the reason why parents expose the two stories to their children is because they both portray the same moral: good things happen to good people. The two interpretations of “Beauty and the Beast,” although written in separate countries, share important similarities and differences even though the authors have different interpretations and came from different cultures.
We all grew up hoping that we were the princesses who met the dreamy prince and lived ‘happily ever after’ like in a fairytale.People debate over whether or not Disney fairytales are beneficial for children. Like Melissa Taylor the author of the piece ‘10 reasons why kids need to read non disney fairy tales’, I am against disneyfied fairy tales. In this essay I will argue on why kids should not only watch disney fairytales but also the real versions.
Hearne, Betsy. "Disney revisited, or, Jiminy Cricket, it's musty down here." The Horn Book Magazine. March-April 1997 v73 n2. p137(10). 3 April 2002 <http://web7infotrac.galegroup.com/itw/i...25956&dyn=88!ar_fmt?sw_aep=miam i_richter>.
The first four images provided are from the original illustrations of the Grimm's Brothers Fairy Tales. If you don't know it yet, the Grimm's Brothers published the original (creepy and cruel) versions of today's favorite fairytales from Walt Disney. Click here if you want to read the original endings. Today's blog post attempts to examine how our society impacts and influences
For decades Disney has been the source of happy endings, fairytales, and family friendly stories for children of all ages. These stories range from realistic and familiar, to the eye-catching magical fairytale. The key to each of these stories are the happy endings brought about by each of the characters unique personalities and dreams. Disney’s films are attempted to provide children with the basic understanding of wrong versus right, but instead influences our society’s beliefs and awareness. Although Disney’s efforts to provide the basic morals to our children are misleading and affect our society strongly, they also contain the use of racism in a form which shows the major differences between characters. The once admired and well-known characters are seemed to be recognized by their species, ethnicity and even their social class. Disney films have taken out of context and have persuaded their viewers understanding of racial stereotyping, which is thoroughly explained in Henry Giroux and Grace Pollock’s novel, The Mouse that Roared. They bring awareness to the underlying racial stereotyping in Disney films, which deeply affect our societies understanding today. Giroux and Pollock bring into perception these admired and regularly watched films through precise examples and racist rendering of the specific characters species and ethnicities which strongly influence our society and lead children to intake these negative influences.
The Children’s and Household Tales, more commonly known as Grimms’ Fairy Tales were first published in 1812 by the Grimm brothers, Jacob and Wilhelm. Although the title suggests otherwise, the vast majority were not intended as children’s tales. Containing violence, gore, and suggestive references, the stories were not well-suited for children. The stories were didactic at a time when discipline relied on fear and were written as “warning tales” for children. What made the stories so memorable were the many uses of figurative devices used to enhance them. The use of characterization, imagery, theme, and symbolism helped make the simple narratives beautiful, striking, and
Over the years, fairytales have been distorted in order to make them more family friendly. Once these changes occur, the moral and purpose of the stories begin to disappear. The tales featured in the many Disney movies - beloved by so many - have much more malignant and meaningful origins that often served to scare children into obeying their parents or learning valuable life lessons.