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The princess and the frog analyse
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Produced in 2009, The Frog Princess is a Disney animation inspired by the Grimm Brothers’ fairytale, The Frog Prince. Both The Frog Princess and The Frog Prince deal with a multiplicity of issues, all of which contribute to supporting positive messages and morals (Ceaser, 2009). However, though The Frog Princess is based on a classic fairytale, it is far from being the same. The writers at Disney have taken a classic fairytale and created a “Monster” (Prince, 2001). This essay will examine the evolution of the original Grimm Brothers’ fairytale, the messages both main characters represent, and how the adaptation to fit a modern child readership diminishes a classic fairytale. Through discussing these arguments, this paper will prove that Disney’s adaptation into The Princess and The Frog is counter-productive in representing the original story’s messages, morals, and values. Fairytales express the creative fantasies of the rural and less educated layers of common man (Cuban, 1984). They are characteristically full of magic, often involving upper class characters (Cuban, 1984). In short, Fairytales are organically grown with the creative material of a collective group. The Grimm Brother’s fairytale, The Frog Prince, is no exception. The Grimm Brothers’ fairytale is about a handsome prince trapped in the repulsive body of a frog, but who nevertheless overcomes and transcends this bewitched state through his wit, perseverance, and magic (Prince, 2009). Until the seventeenth century, it was the adult population that was interested in fairytales (Cuban, 2009). Their allocation to the nursery was a late development (Cuban, 2009). This allocation can be credited to the rejection of the irrational, and development of the ra... ... middle of paper ... ...ntersection of Race and Pop Culture. 13 May 2009. Web. 04 Nov. 2011. . 7. Alexandrova, Marina. "Disney and The American Princess: The Americanization of European Fairy Tales." America: The New Society (2010): 1-77. Print. 8. Tartar, Maria. The Classic Fairy Tales. New York: Norton &, 1999. Print. 9. Ebert, Roger. "The Princess and the Frog." Chicago Sun-Times [Chicago] 9 Dec. 2009: 1-3. Print. 10. Stone, Kay. "Things Walt Disney Never Told Us." The Journal of American Folklore (1975). Print. 11. Barnes, Brooks. "Her Prince Has Come. Critics Too." New York Times [New York] 29 May 2009: 1+. Print. 12. Lester, Neal A. "Disney's The Princess and the Frog: The Pride, the Pressure, and the Politics of Being a First." The Journal of American Culture (2010). Print.
In one, a specimen-creating brute robs a pelican child’s life and her guardian trying to bring her back to life. In the other, a prince learns the value of his frog-turned-princess and sets out on a quest to find her. Joy Williams’s Baba Iaga and the Pelican Child and Alexander Afanasev’s The Frog Princess are both critical facets of the fairy tale genre. While initially it may seem that Williams preserved no elements from Afanasev’s tale, upon a closer glance, it is evident that the two tales’ similarities outnumber their differences. By incorporating a generous portion of the original story into his, Williams’s version brings forth an innovative arrangement of classic and new. As a result, William’s tale introduces features to the tale that mirror everyday life lessons while simultaneously maintaining qualities that are reflective of the definitional aspects of the fairy tale genre.
In the article “Are All Princesses Really Waiting for Princes to Come?” Jack Heckel discusses some of the most common Disney princesses and the stereotypes that come along with them, as well as some of the stereotypes that are seen in the Disney princes. He supports his article by providing a variety of sources not only from Disney movies, but also from various authors and blogs. The analysis of Disney princess stereotypes has been a very common topic for years, and this overall analysis has revealed that a lot of Disney princesses are not good role models. Heckel uses many techniques including using credible, non-Disney sources, discussing other fairytales besides Disney, displaying a timeline of Disney
Stephanie Hanes opens up the article with an experience a woman named Mary Finucane had with her daughter. The 3-year-old, Caoimhe (Keeva), became a more passive child than she was before discovering the world of Disney Princesses, which her mother credits to be the cause. Mrs.
Film analysis with a critical eye can give the viewer how animation giant Disney uses literary element to relay key messages to the audience. Walt Disney’s “The Princess and the Frog” is a perfect example how different literary theories like ‘the Marxist theory’ and ‘Archetypal theory’ can be embedded in the simplest of the fairy tales. The different literary elements in the movie, shows a person how characters like ‘the banker’ and the setting of the houses helps to portray the socio-economic differences in New Orleans at that time. Applying ‘the Marxist theory’ and ‘the Archetypal theory’ to the plot, characters and the setting, shows how movies can be a medium to confront social issues and to prove that all fairy tales are of the same base.
Since Disney’s Snow White appeared in 1937, Disney princesses have been a present in pop culture. With the release of new movies frequent and re-release of decades old movies inevitable, a continuous stream keeps Disney princesses in the foreground of adolescent society. It is with the value of entertainment they have been created and as entertainment they should be viewed.
From a young age, princess culture has impacted the lives of numerous people. Some individuals may have spent their childhood parading around in the attire of their favorite Disney princess while they put on their best rendition of the character they admired most. Ohers may have only seen a few Disney princess movies here and there and went seemingly unfazed by the phenomenon. With Disney’s debut of Snow White and the Seven Dwarfs, princess movies would provide the defining factor of the Disney entertainment empire for years to come. From this, fairy tales embarked into a territory that would touch the lives of many individuals
A fairy tale is seemingly a moral fiction, intended mainly for children. A lesson in critical analysis, however, strips this guise and reveals the naked truth beneath; fairy tales are actually vicious, logical and sexual stories wearing a mask of deceptively easy language and an apparent moral. Two 19th Century writers, the Grimm brothers, were masters at writing these exaggerated stories, bewitching young readers with their prose while padding their stories with allusion and reference: an example of which is "Rapunzel." Grimm's "Rapunzel" is packed with religious symbolism, which lends a new insight to the meaning of this classic story.
The film is a fairy tale set in Jazz-Age era New Orleans and centered on a young girl named Tiana and her fateful kiss with a frog prince who desperately wants to become a human again.
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)
Fairy tales portray wonderful, elaborate, and colorful worlds as well as chilling, frightening, dark worlds in which ugly beasts are transformed into princes and evil persons are turned to stones and good persons back to flesh (Guroian). Fairytales have long been a part of our world and have taken several forms ranging from simple bedtime stories to intricate plays, musicals, and movies. However, these seemingly simple stories are about much more than pixie dust and poisoned apples. One could compare fairytales to the new Chef Boyardee; Chef Boyardee hides vegetables in its ravioli while fairytales hide society’s morals and many life lessons in these outwardly simple children stories. Because of this fairytales have long been instruments used to instruct children on the morals of their culture. They use stories to teach children that the rude and cruel do not succeed in life in the long run. They teach children that they should strive to be kind, caring, and giving like the longsuffering protagonists of the fairytale stories. Also, they teach that good does ultimately defeat evil. Fairy tales are not just simple bedtime stories; they have long been introducing cultural moral values into young children.
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/>.
Rozario, R.-A. C. (2004). The Princess and the Magic Kingdoms: Beyond Nostalgia, the Function of the Disney Princess. Women's Studies in Communications, 35-40,62-68.
The “disneyfication” of The Little Mermaid perpetuates negative aspects of American cultural ideals, losing the moral integrity and lessons intended to be taught from the original fairytale. Works Cited Mortensen, Finn. A.H. Hauberg. The Little Mermaid: Icon and Disneyfication." Scandinavian Studies.
Ross, D. (2004). Proquest. “Escape from wonderland: Disney and the female imagination”. Marvels & Tales, 18(1), 53-66,141.
Disney has been an inspiration to kids since October 16, 1923. With the start of Mickey Mouse cartoons, Disney has created an empire of imagination. Ever since Snow White, Disney’s first princess in 1937, came on the screen, young females have been amazed by the vision of the “Disney Princess”. As the years went by, dozens of princesses have hit movie screens and Disney has made billions off of the profits from these individuals. In reality, Disney has influenced the immature views of what to expect of beauty from a woman.