Site Overlay


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. 2 Rumpelstiltskin and the Decline of Female Productivity. 3 Breaking the Disney Spell. 4 Spreading Myths about Iron John. 5 Oz as American Myth.

Author: Akinosho Mall
Country: Japan
Language: English (Spanish)
Genre: Relationship
Published (Last): 15 September 2017
Pages: 183
PDF File Size: 9.28 Mb
ePub File Size: 20.57 Mb
ISBN: 216-6-44434-182-9
Downloads: 78263
Price: Free* [*Free Regsitration Required]
Uploader: Taukazahn

While a sad tradition, it was not Disney’s alone.

According to Zipes, Disney made the following changes: They keep their spirits up by singing a song “Hi Thr, it’s home from work we go,” or “Hi Ho, it’s off to work we go,” and their determination is the determination of every worker, who will succeed just as long as he does his share while women stay at home and keep the house clean.

I’m currently writing a research paper on fairytales and came across your blog. In particular, the animals befriend Snow White and become her protectors. In Disney’s early work with fairy tales in Kansas City, he had a wry and irreverent attitude toward the classical narratives, and there was a strong suggestion in the manner in which he and Iwerks re-wrote and filmed the tales that they were “revolutionaries,” the new boys on the block, who were about to introduce innovative methods of animation into the film industry and speak for the outcasts.

In short, by institutionalizing the literary fairy tale, writers and publishers violated the forms and concerns of non-literate, essentially peasant communities and set new standards of taste, production, and reception through the spelp of the fairy tale. What were the major prescriptions, expectations, and standards of zkpes literary fairy tale by the end of the nineteenth century? For instance, for some people the Grimms’ fairy tales are holy, or fairy tales are considered holy and not to be touched.

By doing so, animators appropriated literary and oral fairy tales to redefine the genre and conform it to the vision of Disney, who truly revolutionized the fairy tale as institution through the cinema.

Email required Address never made public. And here is where Walt Disney and other animators enter the scene. At the same time, the hero’s black cat, a female, is having a romance with the royal white cat, who is the king’s chauffeur. Consequently, Zipes sees Walt Disney’s Snow White as an expression of American male individualism, film and literary interpretations of L.

And, if he did manage to cast his mass-mediated spell on the fairy tale so that we see and read the classical tales through his lens, is that so terrible? Jakc a symbolical level, the cat represented Perrault’s conception of the role of the haute bourgeoisie his own classwho comprised the administrative class of Louis the XIV’s court and who were often the mediators between the peasantry and aristocracy.


Zipes jaci that by simplifying this oedipal complex semiotically through animation and satirizing it in order to create common appeal, Disney also touches on other themes:.

Fairy Tale as Myth/myth as Fairy Tale – Jack Zipes – Google Books

To a certain degree, Disney identified so closely with the fairy tales he appropriated that it is no wonder his name virtually became synonymous with the genre of the fairy tale itself. Of course, it would be a great exaggeration to maintain that Disney’s spell totally divested the classical fairy tales of their meaning and invested them with his own.

John Canemaker Los Angeles: On the contrary, Disney employed the most up-to- date technological means and used his own “American” grit and ingenuity to appropriate the European fairy tales.

A bdeaking of films at the time would not credit the mass of people who worked on the film. His radicalism was of the right and the righteous. The celebration of the phallus in the film was indicative of the nature of production in animation studios of the time. He also knew that novelty would depend on the collective skills of his employees, whom he had to keep happy or indebted to him in some way.

The oral tales continued and continue to threaten the more conventional and classical takes because they can question, dislodge, and deconstruct the written tales. Unlike the oral tradition, the literary tale was written down to be read in private, although, in some cases, the fairy tales were read aloud in parlors.

Printed animations, which had become widespread in Europe and America during the latter part of the nineteenth century, heralded in the age of comic books, which assisted in redefining our understanding of traditional interpretations of fairy tales.

The oral tales continued to be disseminated through communal gatherings of different kinds, but they were zopes broadcast zlpes radio and gathered in books by folklorists. There is no doubt that Disney retained key ideological features of the Grimms’ fairy tale that reinforce nineteenth-century patriarchal notions which Disney shared with the Grimms.

Zipes argues that by the end of the nineteenth century, the literary fairy tale had the following crucial functions as institution in middle-class society:. Email required Address never made public. Simon and Schuster, The revolution takes place as the king is outpaced and will be replaced by a commoner who knows how to use the latest inventions. It is also unclear which text he actually knew. In this lively work, Jack Zipes explores the historical rise of the literary fairy tale as genre in the late seventeenth century and examines the ideological relationship of classic fairy tales to domination and oppression in Western zpes.


At first it was obvious and literal; at the end it was subtle and cloaked in metaphors and symbolic imagery designed to facilitate the process and yet to keep the idea gratifying for the artist and the audience. Lewis Jacobs, 2nd Ed. In fact, it is noteworthy that Disney’s very first endeavors in animation not considering the advertising commercials he made were the fairy-tale adaptations that he produced with Ub Iwerks in Kansas City between Log In Sign Up.

The tale came directly from common experiences and beliefs. One of his early films, Puss in Boots, is crucial for grasping his approach to the literary fairy tale and for understanding how he used it as self-figuration that would mark the genre for years to come. But what has the prince actually done to deserve all the credit?

The answer to all these questions is simply: He also made his films personal, allowing them to echo his own sentiments on national issues.

However, despite their beauty jac, charm, these figures are pale and pathetic compared to the more active and demonic characters in the film. Literature and the History of Violence New York: Read as a “parable” of Disney’s life at that moment, the hero can be seen as young Disney wanting to break into the industry of animated films the king with the help of Ub Iwerks Puss.

This article cites the famous quote by Woody Allen in Annie Hall: Showing little reverence for literary tradition, Disney focused less of maintaining the integrity of the original text and focused more attention on displaying his innovative and technological accomplishments. It did not matter what story was projected just as long as the images astounded the audience, captured its imagination for a short period, and left the people laughing or staring in wonderment.

Foundational Essay: Zipes’ “Breaking the Disney Spell”

Zipes argues that by the end of the nineteenth century, the literary fairy tale had the following crucial functions as institution in middle-class society: Rather, he is the entertainer who disbey the subtext of play found in his sources and dares once again to frighten children” Extremely few people brea,ing read, and the fairy tale in form and content furthered notions of elitism and separation. The way Disney movies captivated the audience was magic.

They all have names — Doc, Sleepy, Bashful, Happy, Sneezy, Grumpy, Dopey — representative of certain human characteristics and are fleshed-out so that they become the star attractions of the film.