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Stereotypical roles of women in film and literature
Stereotypical roles of women in film and literature
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In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
A prolific exemplification of the ideal female virtues portrayed in fairy tales is Charles Perrault’s “ The Little Glass Slipper”. Perrault presents the ideal female fairy tale character through his portrayal of Cinderella. Cinderella is a tame and forgiving individual who subjects herself to the will of her father, stepmother and s...
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...cardinal virtues.” This cannon is exemplified in multiple fairy tales, especially Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White”. Throughout these two fairy tales the main characters are perfect embodiments of these ideal female virtues. Cinderella is passive and forgiving even though she is mistreated. Snow White is passive and her life is completely dependent on the males present in the tale. In both instances the opposing women in the narratives are characterized as villains because they are strong and dominant. In the case of “Snow White” only the queen is looked down upon when she tries to kill Snow White, while the huntsman is proclaimed a hero even though he was intent on killing her. These cannons and ideals, demonstrate why our society is full of double standards and set ideals that women are suppose to live up to.
This passage from the story insinuates that men need women to see it they way they do, and men don’t appreciate it when women are free-thinking. Women in fiction, not just in books but in movies and television as well, are often represented in certain molds or ideas. The story of Cinderella and the story by Hurston both reinforce the idea that fictional portrayals of women are
As the world has transformed and progressed throughout history, so have its stories and legends, namely the infamous tale of Cinderella. With countless versions and adaptations, numerous authors from around the world have written this beauty’s tale with their own twists and additions to it. And while many may have a unique or interesting way of telling her story, Anne Sexton and The Brother’s Grimm’s Cinderellas show the effects cultures from different time periods can have on a timeless tale, effects such as changing the story’s moral. While Sexton chooses to keep some elements of her version, such as the story, the same as the Brothers Grimm version, she changes the format and context, and adds her own commentary to transform the story’s
When analyzing a classic fairytale such as, Snow White, by the Brothers Grimm through a feminist lens, it is clear that it is a phallocentric fairytale that includes stereotypes, gender roles, the male gaze, and paternalism.
“I've told her and I've told her: daughter, you have to teach that child the facts of life before it's too late” (Hopkinson 1). These are the first three lines of Nalo Hopkinson's short story “Riding the Red”, a modern adaptation of Charles Perrault's “Little Red Riding Hood”. In his fairy tale Perrault prevents girls from men's nature. In Hopkinson's adaptation, the goal remains the same: through the grandmother biographic narration, the author elaborates a slightly revisited plot without altering the moral: young girls should beware of men; especially when they seem innocent.
As Tartar notes, fairy tales “adap[t] to a culture and [are] shaped by its social practices” (xiv). As American culture began to change, the fairy tales produced by Disney studios began to change and adapt to changing American sensibilities. The main focus of this shift is the role that women play in the fairy tales. While many of Disney’s early fairy tale movies have female characters, they are fairly passive. They achieve their happily-ever-after as a reward for good behavior in the face of adversity. The prevalence of this in the early tales occurs for two reasons. First, the women’s behavior serves as a guide to the American people who, too, are facing the adversity of the Great Depression and then war. Second, the women’s behavior mirrors the expected behavior of women in society at that time. As women fight for and achieve what they want out of life, the female protagonists in the Disney fairy tales mirror that action. As a result, the female protagonists’ behavior serves a different purpose in these later fairy tale films. The behavioral shifts serve to “endow us with the power to reconstruct our lives” (Tartar xii). They are “fictional stories that provide a truth applicable in the real world as a moral” by embracing the growing importance of equality for women found in modern American (Zipes, “The Cultural Evolution of Storytelling 10).
Over centuries of children have been enjoying the classic fairy tales of the Grimm Brothers and Charles Perrault. The fanciful plots and the vivid details allow children to be entranced by characters and adventures that can only be found in these stories. One of the most beloved fairy tales, which both the Perrault and the Grimms have their own separate versions of, is Cinderella. Cinderella is able to show how both versions are able to feed off the same plots while personifying the century and social economic situation in which they have lived.
The Grimm’s stories have strict criteria for good and evil. Good women are not the hero, they do not plan, nor do they get themselves out of bad situations; they are obtuse and wait until a Prince saves them. These qualities doom the female protagonists (and readers) to pursue the only destiny women have, and that is to be a wife and mother (Rowe, 1978). Cinderella is the heroine and the ideal good girl. She is unambiguously beautiful, kind, and compassionate. She does not complain or get angry. This is foreseen early in the Grimm’s Cinderella story:
“Cinderella” the tale of a suffering young girl who finds her prince charming, and lives happily ever after in a big beautiful castle. Truly, the dream of many young female readers. This story is well known all around the world and has many different versions. This paper will specifically focus on the versions by Charles Perrault and Giambattista Basile. One cannot argue that while writing their individual version of Cinderella both Charles Perrault and Giambattista Basile were strongly influenced by the many other tales of Cinderella, and this can be seen by the repetitive plot line, character and morals in both their stories. Giambattista Basile story was called “The Cat Cinderella” and Charles Perrault named his “Cinderella” or “Little Glass
...es held by many fairy tales are conventional and represent the basic morality for many societies', which is perhaps why they quickly to gained acceptance by both children and adults throughout the nineteenth century after the Romantic Movement. During this period of time, a highly warlike society was formed by men who attended war and fighting against other countries while women were relegated to subordinate and subservient positions. The social convention formed during nineteenth century is reflected in the gender bias of the children's literature in which men were casted in predetermined and leading roles. Female heroes were portrayed as rather helpless creatures whose futures depended on the kindness of capable men, whom the women must need in order to be saved. Consequently, this pattern is displayed on the quests done by both female and male heroes respectively.
Thinking back to our childhood, we all remember hearing many kinds of fairy tales. Some of them inspired us others confused us, and most of them taught us valuable lessons. Through out centuries tales and stories have been used as a valuable tool to pass on our culture to new generations. There is a strong belief that these fairy tales mirror and influence society. All cultures interpret tales in their own unique way. They add and subtract various aspects of the tale to fit the needs of their particular society. The same tale in the United States is different from the tale told in Asia. A good example of tale evolution can be seen in one of the most famous tales ever told which is “Cinderella”. As a professor of women’s history Karol Kelley points out in her essay Pretty Woman: A Modern Cinderella “There are some 700 versions of Cinderella”.This fairy tale as many others has been changing for many years, and in recent years Cinderella has come under some criticism for its depiction of women’s roles in society.
Fairytales, existing for several generations, have evolved through time, catching the attention of many belletrist, demanding an explanation of how feminism plays an essential role in today's culture. Both James Poniewozik and Peggy Orenstein discuss this topic through connecting to the real world and fairytales. Furthermore, in Poniewozik’s article, “The Princess Paradox” he discusses the “girls-kick-ass culture” (323) and how males naturally have an advantage on females. Whereas Peggy Orenstein’s article, “Cinderella and the Princess Culture” approaches the issue of feminism within fairytales in a more feministic manner. While both authors address feminism, Poniewozik shows his concern among the culture of fairytales in movies while Orenstein
Fairy Tales have been around for generations and generations. Our parents have told us these stories and we will eventually pass them down to ours. In this time of age the most common fairytales are Cinderella, Snow White, Sleeping Beauty, Beauty and The Beast and many more. Children idolize their favorite character and pretend to be them by mimicking everything they do in the stories. The character’s behavior is what is viewed as appropriate in society. These fairy tales show a girl and a boy fall in love and live “happily ever after”. The tales in many people’s eyes resemble a dream life that they would want to have of their own. However, have you ever really looked at what makes up a fairy tale? Many things are unrealistic but the most unflattering aspect of these tales is how women are depicted in them. Fairy tales give an unrealistic view to how women should look and behave in real life.
In “Things Walt Disney Never Told Us” by Kay Stone, the author began her article by contrasting the infamous Grimm fairy tales and the passive Disney fairy tales with the characters from the Märchen, which is all types of fairy tale in general including stories with active heroes or heroines. She also talks about the Grimm brother and Disney's negligence to include active characters and the black and white stereotypes of the beautiful and kind protagonists and the ruthless and ugly antagonists. Although some of the heroines from the Grimm and Disney stories do show signs of bravery, but they are overpowered by the men in the end: “In "The Clever Peasant Lass" the girl is threatened with abandonment by her boorish husband, and the proud daughter in "King Thrushbeard" is humbled by both her father and her unwanted husband.” The main characters from both the Grimm and Disney are viewed to be “uninspiring” as Stone puts it: “The popularized heroines of the Grimms and Disney are not only passive and pretty, but
Throughout literature, authors employ a variety of strategies to highlight the central message being conveyed to the audience. Analyzing pieces of literature through the gender critics lens accentuates what the author believes to be masculine or feminine and that society and culture determines the gender responsibility of an individual. In the classic fairytale Little Red Riding Hood, the gender strategies appear through the typical fragile women of the mother and the grandmother, the heartless and clever male wolf, and the naïve and vulnerable girl as little red riding hood.
In a society, there are many different opinions on how a women figure is seen. These ideas have changed overtime with the progress of women bring consider equal to men. There are two ways a woman can be interpreted, one brings lower to the men and the other being equal to men. Women play an important role in shaping lives, directly or indirectly. The tales depicted in this book shows the reader the broader insight of how women were seen as in previous years. The different ideas of what women meant to men are seen in the tales told by the characters in the book, mostly the men. The perspective of a woman for a male and a female is different. If we were to compare two tales from each side, the opinion would only be in favour for the individual who is narrating the tale. In Geoffrey Chaucer’s “Canterbury Tales”, the role of women is portrayed in two different ways, one