from Maria Tatar, ed., The Classic Fairy Tales (NY: WW Norton, 1998) eocational standpoint i he atematve ending of the le which fr ‘es prof thatthe Teson has indeed been leamed: “Meanwhile, Lie Red Cap thought to henelf, Never again wil you say from the path bypoarl and ena fen ss maar a des we ‘Although the notin that adults are dot-bound t guide thei hil dren and that they ae responsible forthe behav f the later did ot Jet ext in Perl ime it became the basis forthe mother daughter felationship inthe Crm version. Moreover. the school an intttion Eeeking in Peraults day, beeame not ht 2 recognized insitton, but a hated one. Inthe version ofthe Grinm Brathes, when the wolf Someta Red Rang andthe one my meng that could not have appeared in Penaulsvenon: she looks a ad at if she were going to school. “You march along aif you were going Sight 1 sok ™ in the centr lloving Perrault’ ifetine, the concep of chiens coral tok deine shape Thi new concep, which suck deep ‘oot in the educational sytem developed during the same prod, ent 4 great deal of importanse to children’s reading material, us creating ‘ovinellectat ciate sutable for he compostion of aoa dre’ iterate. "= * JACK ZIPES ‘Breaking the Uisney Spellt Tessar not once upon ie, bat a ertein e n hry bao anyone knew what was happening that Walt Disney east a spel onthe fait tl, and he has held it eaptiv ever since. He didnot ue a mic sean of demonic powers. On the contrary, Disey employed the most Uptodse technological means and used his own “American” get and Ingenuity to appropeate European fairy tales His technieal ls and ‘eologiealprolinties wee 20 consummate that his signature has [ob seured) the names of Cares Perrault, the Brothers Grimm, Hans ‘Gus Cold 1 anon ade Ue ‘he great clasial iy 'tales today, be it Snow Whit, Sleeping Beaty, ‘Cinderella they wil think Wak Disney, Tei fit and perha 1 imptesions of hese tals and other wil have emanated fromm 2 Fo na Mem Th Fl of le Cd, nd a oth Bl See eT pce Breau Tue Diseey See 8 Diner fl. boo,o artic. Thoueh other fimmakers and animator Yoduced reratable fatale fen Disney managed to gan cult Srgehold onthe fy tl, and this sanglehold has even tightened sath recat panhntrne of Destin the Beat 1991) ot Md (2 hema pl fr hey le ems Tne on en ae his deat Bt what does the Disney spell mean? Did Disney achieve a com- plete monopoly onthe fry tle during his lifetime? Did he impent a Tat dominir ot peopectne to Andel manage cat is ‘masemediatd spel on the fairy ale so tat we see and read the cla Sia ales tough ns len, har 30 rere” Wa Eomey a nests ‘ward of some tind whose domination ofthe fy tale shouldbe ls meted? Wasn't he jot more inventive, more skilful more in touch seth the American spnt ofthe times than his competitors, whe ao Sought to animate the casa gy tale forthe sree? ‘OF coun it would bea erent eanegetton to maintain that Disney’ spall totaly divested the classical iy tales oftheir meaning and in ‘eed thm wih his own, Butt would not bean exaggeration taser. {hat Disney was a radial timmaker who changed out way of wing fay tales, and tht his revolotionay technical means capitalized on American inacence and ingen inside oral a pl ical satus quo. His radicalism was ofthe right andthe righteous The peat magi” ofthe Disney spel stat he animated they tae only fo vanaf audiences and der thet penal Woplan dreams and ‘hopes through the fas promise ofthe mages he cast upon the sree ‘But before we come to fll understanding ofthis maaal sel. we rst yf understand what he dit the fay tale that Was 50 revo- Ionary and why he di it ‘The Oral and Literary Fairy Tales "The elution othe tity tale asa literary genre is marked by d- lectial appropriation that tthe cultural conditions for ss stitution “lratinn ani eponsnn aca maser form thrgh rai, ln television. Fairytales were fst od by gifted tellers and were based ‘on ital ntended to endow with meaning the diy lives of members fa be. AS ore fo tats, ty were fede to expla al ‘occurrences such athe change of the seasons and shifts in the weather otto celebrate the its of harvesting, hunting, marriage, and conquest “The emphasis n mot fl ales wat on comminal harmony. Anataor cor narrators fod alert bring members of group of tbe closer t- ign and to provide them th a zene of mision, atl. The tee {hemuelves assumed a generic quality based onthe function tht they were w fall for the community ofthe incidents that they were toos oe res tor ite an pin Comes he vet ke ne SRS scteamh as Sao Re re ee bese wr of he rarer aw Te sce ecty nm nl lee rcs ey (SER re ed te Nl ote nc Tepe prop che Tee EF neo of he ining psn tite ena he ol do feeling set lines erin Thon ba wr enon ier mc Data cing a yeh ae tamed Thr hang apn gh, at el se Sentry ir onl kann po iat dai we ta nd pe canoe Sond ie win pion ca ed Im ee ry ee pay ged ged th le ome cal tna yes We ty com yen ah a on yp ae le ee ee ed tay age The Pench eno he la eh ny hep i ye ee he ns of ope pare, ve io. fled scot sled oe be al Zahn ws te Emon sia le ts econ fc cout yey ead ne Fh ‘it pf act of Ses shure ft Seafight Me DAs, Cate tit Mle itr Ml dao nen end on ‘st nye Tn es er Sie etd Ete fps 1) lan en Cot Fane Sepa Cotta Bla ay ‘rh ath ge fe ey i Sted nv eed mae hgh ei Sern so te per chor nd emer Ss Tat ev map rahe aga ey tenon many hy roi eae nbveon eR gS a lo Tit heey yer ig ttioulidthecot ai alt a a ipa rw bed By Be ‘Su eS 12TH the May cuted aly wae not dette a ote Bragg rie Dever Sr 35 ne itera genre, Rather, the ol tadion comtnged to feed the ‘tes wh ater and wa now ao nflenced by the erry ead tion isle The eal chapbook (chesp book), known a the lot. 1S lee, ht arene by pes elprar oe lloger thrnghowt France cotaned necro sobre and ance sions of the Ieraty tiles, and thee wee in tum ald once agin in these eonmtitierIn-some cans, the Meray tlt presented new rater hat ws tasfomed though th orl adion and retumed Iter oleate bya weer who remembered hearing a parcel 09 By the beginning of the nintenthcentiry when the Brother in ae hut saab rman ere Seg sete fo tals, the Ierny iy tle had log since Been inetd, and they, long with Hans Christan Andenen, Cal Colo, Ladi Becta hot of Vicon wren fom George MacDonald Oser Wild, sumed diferent idcclogieal and shee potions within his intonation. These weer put the fishin oiches Sn the fatale genre a me when nonstate were astuming her "oder far and culating particle pes of Iterture sr commen- ese peion of seed lar ‘What were the msjr prescription, expectations, and standards of tn literary fry tale bythe end ofthe nineteenth centr? Here it Inpatat ft rake some general femarssbout the "olen hit from the rl tothe Iiteray tition and ot jut a about he spp Retin he mage lk ea a alee proce. Appin oes no occur without lence t the shea fet cested in the onal les" * Such volton of orl slonteling war eri and Sete br the ethan fe brwgontie bese ened {ie contol of desire and imagination within the bolic order of wesem clue. ‘ne the ral radon, he ery le wa wren down 0 be ead in priate, although, in some cae, the fy le were sad loud in Fars However, the book form enabled the reader fo withdraw fom Fit orher society and tobe alone wth ale This prvatiationvlted the communal spect of the folk tal, but the very pinting of xy fale wae aay 2 sibtion since i ea bueed on epaaton ofwosil clases, Eatemely few people could read andthe fy tale in form and tent fathered nations of lism and separation Infact the French {any es eigenen mpeer of me chosen srsocatic ete wh Wei alvays place atthe center ofthe seventeenth and eighteenth Sentry naretives They were ptt and pace ofthe cls stg in the discoues ofthat period. Po ace extent, te ty les were the outcome of violet “eized” sgl, material represetatons, hich seprcntal sages for hegemony” AF Nancy Atong and Leonard Temneshous have suggested,36 ex Zar clas of people cannot produce themselves 2 ruling ls with tt seting themselves of against certain Other. Thet hegemony nals posession ofthe he cual terms determining what are eight ond eng Saye be man bang No mater whee the leary tle okt and ald ie ManctCemty, gu a hes ne rae te Bi cel nat edt ws ie 4 om nen a ednton er nee ef ella le saenectioa gion re Tok td el he hoe tty bry fate wean blanc forenper pet p anime pe eet tudo sa ef se poco sl pon gh he Scan he ay le ee cam exmte ne mary ope wo col alee et ns ee en wey hee he Aa permet a goo dele per an Sette non ico a es nels at nce tay espe nd ees eonsnon oe ann ha ee a rah eects Toe 'ell fons plop tadpole “ile oe le gh sud pace ping tng Spams ahh Paco high Gem Repos icon rma on otal ron snd sl ee slo ene “ual fer an aie ned he rss penned ged TEs a tera at Shwe be ger eeton on he ut of Ye ret ha eo an eae ee rf bhangra ‘Tk ed dl td gh ey ne ed weno enor sd lo lene ce some ‘ete merean le com nd wees seen teat ell bdetorol/ note wal deel re ‘Sul and could teh eae thee rere ‘Een ntegag an ne Tae a th es hy tis see nlc pve fer chien In et Ene ee ee ed ea eect itn ey ha ayes wee fle fr ced ter ten fel ene eg eg in he oe See SEY ney to ten wee ttcTan Gu enn a he ry ls er ala eo ee esr sabe santa ot be nas hos Roig Sis har denoted ahead 2 samy tare an. yn Min Ln 5. GE De Demons Phone Sten Rien and teers So Sean Rar etre mates Breanne Dever See a “The form and structure of the iy tale for children were exteily regulated in the nineteenth century tht improper thoughts and det {ent nt esate the mid of be yg one sca Fy at re nn me ayn x aon wb Leva lana and poplar inthe nineteenth cet it's clear that they themselves ‘uecoedselfcensonhip and retail in conceiving and wetng down les for chigren ‘TOLL “Th te ape thatthe Heyy em non became tray, by the end ofthe nineteenth centry the genre send diferent fonctions Aa whole, formed a mul-tocal network of dcounes hough which waters wed fair Us, topo, roa, and plots symbolically to omment on the cvlizng proces and socialize tion in their repective counties. Thee tales dd not represent comm tal valves bot rather the vlos of particular water Theretoe the wer subscribed to the hegemone ale stm of bis o ers ‘sy and reported the canon ology of Pert the Cree, nd Andenen, hehe would wre a conventional tale with consenate “alc, wheter for dul ot children, On the ther hand, many writes ‘woul patdy, mock, ston, and’ Undermine the clase ea tradition and produce original and subversive tals that were pat and ‘are ofthe titan bell “The socalled orginal and subversive tales have kept the dai coat of he alc api al the has au been 4 sctue, image, metaphor, plot and ylue ay sacrosne. For in- stance, for sme people the Crm fy tales ate hol ofa tes Se conudered oly and not to be touched. How dd ths noon "Tos cei extent. i wan engenderl by the Crime and other foliose ho believed tha the Bay tals arse rom the pit fe folk Yet, worship ofthe fay tale a5 hay arp isa petition of the ny tale hat connected othe eablishment of comet apes, ‘alucs, and power more thn anything ee, This etalishment rough the wlation of the rl practices wa the great revolton and tae fonmation ofthe ay ae By. ef henner ye ad he siting srctl Kies sents i nro ah (0) treed nto of elitism and separatism trough select canon of tales geared to children who knew how to read. (2) Though swan also Wl, the at Ut the yale wan piste Te sel le ie, Within Hd Lg Bh, Hn hin Tein ieee Sion peer oor cree face38 Inox Za and in & book with pictures gave it mote legitimacy and enduring value than an orl tale tat disappeared soon afer twas told 13) It was often read bya parent ina nursery, school, r bedroom to soathe a chil anietis forthe Ear tales fo children were optic tnd were constructed with the closure ofthe happy end. 14) Although the plots vated and the themes and characters were altered the clasial faity tale for children and adults reinforced the patarchal srmbole order based on gid notions of sexuality and gen Ber 3) In printed fm the fait tale was property and could be taken by ‘iw owner and read by is owner at his or her leisure for escape, con- Solation, or spat, (6) Along wih is closure and reinforcement of patriarchy, the ir tale abo sere to encourage notions of rags to riches, pulling younelt tp by yur boosts, dreaming, males, ec, (0) There was always tension between the Iierary and orl traditions “The oral ules have conte tn threaten the more conventional and lamieal ales because they ean question, dislodge, and deconstract the Smiten tales Moreover, within the literary tradition isl, there were tumetous write such Chuales Dickens, George MacDonald, Lewix Carll, Oscar Wilde, and Eath Nesbit who questioned the tandaré {aed model of what afi tal should be {) Teas through seript by the end ofthe nineteenth century thst ‘here wat a fallscaledebite about what oa folktales and itera fity {ales were and what their respective functions shouldbe. By this me the ty tale ad expanded ats high a form (operas, ballets, dramas) nd low at form (lk plays, vaudevils, and parodies) aswel a form Alycloped clasically and experimentally for children and adlts The trl tule continued to be diseminated through communal gathecings of different kinds, bt they were ako broadas by radio and gathered fn books by folks. Mo important in the late vieteeuth centr ‘a hers of flloe as aniston and of various chooks of terry tc that dealt with fay tals and flk tes. 19) Though many fairytale books and collections were illustrated (ome lavishly) in the nineteenth century, the images were very much srconfrmity wit theft. ‘The trator were quent anonymous {hd didnot seem to count. Though the illustrations offen enriched and ‘deepened a tale, they were generally subservient to the text However, the dominio the word in he development ofthe as tale a» genre was about to change. ‘The next great revolution in the insitutionalization ofthe gene vas the fm, forthe images now im posed themselves on te ex and lormed thelr own text wolation of print but also withthe help of the print culture. And here i where {Walt Pisney and ther animators enter the scene ‘reat se Dish Sr. ss Disney's Magical Rite By the tum ofthe twentieth century there ad already been a number of talented illustators, such as Gustave Dose, George Crushank, Wal ter Crane, Chatles Follard, and Arthur Ractham, who had demon tated great ingenuity in their interpretations of fay tales though their images. tm addtion, the broadside, broadsheet. ot image dEpinal had Spread in Europe and America during the later pat ofthe minceenth Century aa forerunner ofthe comic book, and these sheets with ented text anticipated the Sint anitated cartoons that were pro- 1 Begining ofthe twentieth century. Actaly the French Filmmaker Georges Meits began experimenting as exly 35 1896 with {ype of tantay nd tral’ mots in fis fees or ck ims” Te plorloced versions of Cinderella, Bluebeard, and Lite Red Riding Hood mong others However since the cinema industry itself was sill in its ‘uty phase of development, twas dificult for Melts to bring about inajor change in the technalogical and cinematic instttinalization ‘ofthe genes: Ae Lei Jacobs hs remarked, this effort of Melis illustrated rather than recreated the fay tal. ‘Ye. primitive though it was, the order ofthe scenes did fom a Coherent, logical, and progresvecentunuty. A new way of making Ioving ites ad en vented Scenes could ow be aged Sd wierd specially fr the camera and the movie maker could ontol both the material and i aeangement®™ Ding hey it a he etch cen Wale Bohn poventastymcti mich cen ite et ae OE a ee tne of Ea in ret wt Set er ne a SUR Tey ace Pe oaeenly be Dey Se eee iene cmmccat Cee ee ee aoe eee ee te inlet 3 The Pay Mei Benn ite eyes Rar Boe eo Benth, Gale Lc Ro gd Pom es el Cl ae etn he gies oncpaes eiimscoe IEa Wh bee dmc te abe ‘ Steet, be daconing Dine aril eaten he ote en ie i i sa pone te ear get eed gulch aes aiiapratin erat 1 Jacke, “Goong Bing” 1 1 Ra Pan nnn 1 te rn PRAT a Ph we i“0 ox Ze animation in America and ele af the animate in ener fr al thie tas a bearing on Disney’ productive relationship with the fay ale. In his important study, Before Mickey: The Animated Film 1898-1928, Banal Orel sue dat ‘the ealy animated fm was the location of a proces found esc. ‘eltigratin, the tendency ofthe filmmaker to interject himselE fto his flm."Ths can take several forms, can be diet fin ‘tect, and ore oF Fes camoutiaged. "= At st twas obvious tnd literal at the end it was subtle and cloaked in metaphors and ‘gmbolic imager desined to facilitate the proces and yet to keep the' idea gaping forthe art and the audience. Par ofthe a ‘mation game conssed of developing mythologies that gave the tering for he was pctred as or implied to be) 2 mig, « purveyor of hie itself» ‘As Crafon convincingly shows, the eaty animator before Dimey literally drew themselves int the pictues and oflen appeared as char ates inthe fms. One of the tore ieteson spec he eay imate films 2 pychiclly loaded tension between the ats and the characters he draws. one that is rve for a Freudian o¢ Lacanin sadn ot ut aos reer ae av nen while they, in tum, eck to deprive him of his pen (pals or ceatve eto at ys ete ow her re ely “animators were men, aod their pens and camera work asume adi tinctve phallic fanetion in eatly animation) The hand with pen or enc testred m many animated his m the proces ot ean, nd itis then transformed in many lms ito the tail of cat or dog ‘This then act a the productive fee a ats intarent Heh ‘atthe flim. For instance, Disney in his Alice fins often employed » fat naned Jl, who wold tt hi til nde a ick, weapon, ction and conceive a way oat ofa predicament The celebration of the penphals ay ruler ofthe symbolic oder of te him was m Keepng wih te way that animated hms were actly produced in the staios during the 1920s. Thai, mos ofthe stdin {eel lea in New York. retin ne ann he asl ‘yen who joined together under the supervision ofthe ead ofthe studio to produce the cartons. fer making his fist yale ims in Clone cooperation with Ub Ivers in Kanats Gi, Dacy inv to Hollywood, where he developed the taylorized studio to the point of perfection. Under his diection, the fs were carefllyseripted to 5 Dl Cl, fe May 7 mad Fi 1-08 Conte ME en ‘Brean 1: Dis SPELL ea srt isso on fa tay shud eed. The Bee SneT thc Pepa nags tel by ee der Te coninon ani mayer he tf he ee ee stems rH Wide oil ince ws eco along ca 0) be ary ‘might be considered somewhat one-dimensional ro examine all of Dna tes squat a enblmen of he chi deg reise Hever eamltand Dine tones wea er et tea ss Sn athe i ny droped mie see ea Sieg aerdevtopet fh ye sated fie ode mgr Be area tone ote resus semmng Som te shift fh ol oe Mean he tortion ety ase ether caer ti te syed see oem ‘aioe Sanna fas aw was santo he seins unnamed ee meee centay ih he Ge ao ee Cac atta sy Hoe wal i St gen ements ec Stor ela nb ofommantaton if pute mds Thee ae tre dont, lean fan escent cored ecriteacpnmneary tees onde nec ijecigr aT Sion heel he mara oe of he ee: ase san paler oe smmuna voce nt new ae Toa were cited co the ley fan essmabe ta peda ke etn he wane oe ned see a ee Shane sy Sill» chr nena mens cone iy TH hem gn speeded by he mechani meas cf ptt tt, Wee Bejan decal wee reeonay the technique of reproduction detaches the reproduced object, from the domain of tadtion. By makine many reredvetions it ‘ubtitts plurality of copies of unique existence And in pet ring the reproduction t meet the beholder or listener in his ‘un paticulr station, it reactivabie the abjen repdcd. er cmmaae poet ibs itis omen hoa re Osema ox Ziees ‘These two proceses lead toa tremendous shattering of raion which is the obverse of the contemporary ers and renewal of ‘mankind. Both proceses are intimately connected with the con- Temporary mas nwements Their most peel gent the ia Ie wocal signlicance, particulay init mos positive frm, i ‘conceivable without its destructive, cathartic aspect, that i, the Uigutten af the tediianl valve of te sultan hestage! Benjamin analyzed how the revolutionary technological natute ofthe lm equ ether bring abot an aheticztion of pois leading the violation ofthe masses through fascism, ota politicization of ses thetes that provides the necesaycritial detachment forthe masses to take charge of thet own destiny. Tn the cae ofthe finale film a the beginning of the wentith centuy,dhere are “revolutionary” aspect that we can note, and they prepared Ihe way for progressive intovaton tht expanded the honzant ff viewers and led to greater undentanding of socal conditions and clue. Bu there were also regressive uses af mechanical reproduction {Cat brought about the cult ofthe peronaiy and commodifeaton of fm naratives. Foe instance, the voice in fiyale fils i at Gt of Saeed n that the image tty dominates the serena he rend of arate voice can only speak through the designs ofthe animator wo, inthe cate of Walt Die, has signed his name prominently on the sereen tn Bet, fora long tie, Disney didnot ive credit the ats and technicians who worked on his lms. These images were intended both to smash the aura of heritage and to celebrate the ingenuity, n- ventivenes, and gent of the animator In mot ofthe cay animated films, there were few orginal plot, and the storines didnot count Met important were the gag oF the technical inventions ofthe ai ‘ators ranging fom the introduction of live actors to interact with cartoon characters, to improving the movement ofthe characters 50 tne uey dk noe shines, co devs Tudirous ard prepseroos scenes forthe sake of spectacle. Ie didnot mater what story was ro- jected just a long as the images astounded the audience, captured is [imagination fora short period of te, an lf the people laughing ot staring in wonderment. The purpre of the early animated Slime wat fpmake ndionces swesirel an fo elebrle fhe magia flente of the animator as demigod. As 2 esl, the fairy ale as tory was 2 vehicle for animator to expres their asc talents and develop their techno ‘gy. The animators sought to impress audiences with Hei abilities to ‘ke pictures in such a way that they would forge the eater ity tales and remember the images that the, the new artis, were crating for ‘hem. Through thee moving pictues, the animators appropested it "Soni ya ite Heal Won” Beane re Disery Sra a rary an orl fy tales o subsume the word, to ave the fil word, ‘hen through image and book, fr Disney began publishing books ing the 1930s to complement his films. Seat de cay suture, Dinny wae the one whe tly revelation lied the fai tale asistiution though the cinema. One could almost fay that he was obsesed bythe urytale genre, ot, put another way, [Bley felt dawn to lair tales becae they rected his own sugges in lie, fer all, Disney came from 2 relatively poor family, sufered ‘enon the exploitative and ser treatment of an unafiectionate father, ‘was spurned by hi early swetheat, and became a sucess due to his Tenaety, cunning, courage, and his ability to gather around him ta ‘hte atts and anager like hie brother Rey ‘One of his early lms, Pus in Boots (1922), is ercial for grasping his approach tothe literary fairy tale and ndenstanding how he wed {tas selguation that would mark the gente or years to come, Disney Aid ot especially care whether one knew the onginal Perrault text of Pan Boise some other popula version. I i also unclear which {ext he actualy knew However, what is lea is at Disney sought to replace all versions with his animated version and that his cartoon is Shethingly eatbiogrp heal If we recall, Perrault wrote his ale in 1697 to reflect upon a cunning cat whose Iie i threatened and who manages to survive by using his bans to tack a King and an ore: On a spbolic Texel theca repre sented Persaulfs conception of the role of the haute Bourgeoisie (his ‘own las, who comprised the administrative clas of Lous XIV's court nd who were often the mediators between the peasnty and arstoc- ‘acy, Of course, there are numerous ways to read Pera’ tale, but “shuteyer approach one choo, ii apparent that the major proiage- nist isthe ea “This not the casein Disney’ lm. The hero a young man, a commoner, wo isi love wt aie Kgs aug, wn al only feturns his alfetion, A the same time, the heros black eat, female, {shaving romance with the royal white cat, who is the kings chau {eur When the gigantic hing discovers thatthe young man # wooing, his daughter he kek him out ofthe palace, followed by Puss, At Bist, the hers docs pot want Pr’ help. no wll he Buy her the boots that She ses ina shop window. Then they go to the movies together and see a flim with Rudolph Vaselno asa ballghter, a reference tothe famous Roll Valenti. This spurs the smaination of Pus, Con sequently, she tes he hero that she now hasan idea that wll help him win the king’ daughter, provided that he will buy her the boot (Of eoure, the hero will do anything to bla the kings daughter, and The must disguise hinwelf a a masked bullfghter. ln the meantime Puss pine ni tha che il we» Hypnotic machine behind the scenes Save can defeat the bull and win the approral ofthe king, When thechy of the bullght aves, the mised eto struggles but eventually ‘sage to defer the bul The king eso overwhelmed by his pe feance that e eles his daughters hand in mage, but fist he vans fo know who the mae charpion i, When the ero revels Himself te ings enraged but he hero gabe the pancets and leas her othe kings chafleue. Te white ea jumps in ont with Pass, andy sper ff wi the Ving ily coving Mer thse ‘Although Pus etning ct rica in hi la, Dine ocses young man who wan to succeed tll nal fy tle, he hee od x psn ‘ors he dumb. Read aa “parable” af Dine’ ata snoment, the hero can be sen as joung Disney wanting breakin the inst tf anated fs (te King wth fe lp t Ub Ives (Pos), The ‘hero upsets the hing and rns of with is rite posesion, the vigil prince, Thus the Lng i diposesed ste yng ar sare mith the lp of his fend But Disney’ fim is al an tack onthe Iter tation ofthe iy sie teem eo noe ad shang ‘meaning Since the cinematic medium is popl farm of xpesion and accesible to the pble at le, Dey actly returns the iy inlet the mnlony of people. The nage ces, flames, charcte eres jokes) ar ready comprehennible by young and ld like fn diferent soci clases, nf the fy ae oractly indie, it the jokes ae inne: The pot records the deepest oedipal Aes of every young boy the son humiliates and undermine theater rd ane off th mh jet foe, the danger. By Simplifng ths cedpal complex semitcaly in Backan-whte draw Jngh and making fn of that had conn appeal, Dune ao {Sickel onthe themes (1) Democraey—the fl s ery Aero in ts titude twa oy aly. The monarchy i debuaked, and commoner cases» kind of ‘evekton, (2) Technolgy —it is though the new tchralogal medium ofthe ‘movies hat Pats id steed ‘Then th ns 4 yen Shine to defeat the ball ad another Sly new iene Te a tmobile to escape the King 18) Mederib_theveing i svi the tenth century, and the modem minds are replcing the ancien. The evo kes place the king woud ad wil be eplcedby commana hows ‘Bol who i thi commoner? Was Disney making a sttement on be- haf ofthe mass? Was Dimey celebrating “everyone” ot eve an’? Dd Disney belie n revolution and soci? The anger ol these «veton simple: na Casting the Commodity Spell with Snow White Dinney’s hero isthe entering young ma, the etepeneu, who ues tecolgy to is abvatage. He dots nothing to help the people ne cma. tn tc ne decedent Kg ‘eating the llson that he songer than the bull He hs leamed, vth the help of Pus tat one can achieve gon trough deception TP trough te afl we of ngs atone a way aden and sin he for. Amato is eke tick nfo lies te fae fo ecm a they move ough aomatzon As long ne ‘onl fhe mages and machines) one cen reg spreme, oa the fro ial along ashe is dingnd. The pct cone the contol nl machina Tey dpe te dene of wcving te rection ‘nd manipulation and inthe end, auienes can no longer envision a fy tale for themes they can when they Yea i The pices ‘ow depave the auience ot naling the Own Sarat le and dese A the same ime, Dine ofc the deprivation wath th ple feof scopophi’ and inundses the viewer wih dll inaess ittoross Bc, and ert ign, In general the sna, Diy project the enoable fy tale of i ie though hi own mgs, and ele hcugh anit ile hi bat ong dca athe wt 1 ploy out tine and again dn tot of his aye fl. Wi the ‘epettion of Daneys infinite quet—the coe of American mythae ‘ita tothe prem. However, wa ot trough Ps n Bots and hit ober ety ai satel iyi that he war cate saiener and et the tia” modem model fer nite layne Ris They were ot he Kegining Rather stwacin Se Whe and the Sen ers OND that Disney fly appropiate the eran fy ale and mace hi tute into ataemar forthe most acceptable pe of ary le the went cent Dot bef the making of Sow Whit here mee {veopmct ahi ead nthe filet hat ate ingot to Imatinib gap wy a how Snow Whi bce the st esate tye lin dcbve i he sense tht wa define he way ee ama ime nthe gene of the fy tale were tobe made ‘Ale Disney bad made several Laugh\O-Gram file fins, ll joni and tem inertclatons ofthe clase! verso, he moved te Ustpret TO ted ne sean in preci hs oe Fis, which involved a young gi in diferent avenes with croon Characles By 1927 the ls were no lnget pop, 30 Dey 2d Inerts soon Uoeloped Orvald the Lucky Rabi canoo tet ako 2 Tepaing scl plate being nae Er