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. Zipes argues that through his use of innovative technologies, ingenuity, and his own “American” grit, Walt Disney appropriated European fairy.
|Published (Last):||19 November 2018|
|PDF File Size:||2.18 Mb|
|ePub File Size:||17.35 Mb|
|Price:||Free* [*Free Regsitration Required]|
When the gigantic king discovers that the young man is wooing his daughter, he kicks him out of the palace, followed by puss.
Despite the implications of these themes, Zipes argues that Disney was not acting as a rabble-rouser for social change. According to Zipes, Disney made the following changes: Whatever the type may have been, the dieney of the narrator was known.
Part of the animation game consisted of developing mythologies that gave the animator some sort of special status. They were just the beginning.
After Disney had made several Laugh-O-Gram fairy-tale films, all ironic and modern dieney of the classical versions, he moved to Hollywood in and was successful in producing 56 Alice films, which involved a young pubescent girl in different adventures with cartoon characters. However, the book form enabled the reader to withdraw from his or her society and to be alone with a tale.
Consequently, she tells the hero that she now has an idea which will help him win the king’s daughter, providing that he will buy her the boots.
Foundational Essay: Zipes’ “Breaking the Disney Spell”
After all, Disney came from a relatively poor family, suffered from the exploitative and stern treatment of an unaffectionate father, was spurned by his early sweetheart, and became a success due to his tenacity, cunning, dlsney courage and his ability to gather talented artists and managers like his brother Roy around him.
And, as I have argued, Disney was not particularly interested in experimenting with the narrative to shock children or provide a new perspective on the traditional story. During the major action of the film, he, like Disney, is lurking in the background and waiting for the proper time to make himself known.
To Zipes, these things simply were not expressed by Disney. However, despite their beauty and charm, these figures are pale and pathetic compared to the more active and demonic characters in the tbe.
I grew up on Disney movies too! His next step after sound was color, and braking he signed an exclusive contract with Technicolor and began producing his Silly Symphony Cartoons in color. Next Article Overcoming Cultural Differences: Fairy tales were first told by gifted tellers and were based on rituals intended to endow meaning to the daily lives of members of a tribe.
The Oral and Literary Fairy Tales The evolution of the fairy tale as a literary genre is marked by dialectical appropriation that set the cultural conditions for its institutionalization and its expansion as a mass-mediated form through radio, film, and television. 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.
It is here, Zipes contends, where Walt Disney and other animators arrived to appropriate our traditional understanding of fairy tales. Moreover, within the literary tradition itself, many questioned the standardized disneyy of what a fairy tale should be. If we recall, Perrault wrote his tale in to breakig upon a cunning cat, whose life is threatened, and who manages to survive by using his brains to trick a king and an ogre. Through the artful use of images, Disney was able to sway the masses and gain their favor by being the sole controller of those and the supreme ruler of reality.
Foundational Essay: Zipes’ “Breaking the Disney Spell” – The Professional Essays of H.E. Eanes
But what does the Disney spell mean? Stein and Day, Selected pages Title Page. If we recall Sandra Gilbert and Susan Gubar’s stimulating analysis in their book, The Madwoman 14 in the Attic, the film follows the classic “sexist” narrative about the framing of women’s lives through a male discourse. With the rise of literacy and the spfll of the printing press in the 15th century, the oral tradition of storytelling underwent an immense revolution.
Zipes contends that by simplifying this oedipal complex semiotically through animation and satirizing it in order to create common appeal, Disney also touches on other themes:.
The monarchy is debunked, and a brealing causes a kind of revolution. Then she uses a hypnotic machine to defeat the bull and another fairly new invention, the automobile, to escape the king.
According to Zipes, the French fairy tales heightened the aspect of the chosen aristocratic elite: Breaking the Disney Spell. Told in person, directly, face-to-face, they were altered as the beliefs and behaviors of the members of a particular group changed.
One of the more interesting aspects of the early animated films is a psychically loaded tension between the artist and the characters he drew, one that is ripe for a Freudian or Lacanian reading, for the artist is always threatening to take away their “lives,” while they, in turn, seek to deprive him of his pen phallus or creative inspiration so that they can control their own lives.
She returns to life when the prince, who has searched everywhere for her, arrives and bestows a kiss on her lips.