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. 2 Rumpelstiltskin and the Decline of Female Productivity. 3 Breaking the Disney Spell. 4 Spreading Myths about Iron John. 5 Oz as American Myth. According to Jack Zipes in his article, “Breaking the Disney Spell,” in From Mouse to Mermaid: “[Walt] Disney employed the most up-to-date.

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It featured the narrative voice of the diisney author and publisher over communal voices and set new guidelines for freedom of speech and expression. After Disney had made several Laugh-O-Gram fairy-tale films, all ironic and modern interpretations of the classical versions, he moved to Hollywood in and was successful in producing brfaking Alice films, which involved a young pubescent girl in different adventures with cartoon characters.

For instance, for some people the Grimms’ fairy tales are holy, or fairy tales are considered holy and not to be touched.

Through these moving pictures, the animators appropriated literary and oral fairy tales to subsume the word, to have the final word, often through image and book, for Disney began publishing books during the s to complement his films. In this lively work, Tthe 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 diney Western society.

Zipes argues the changes were not momentous. 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 discourse of the fairy tale.

They keep their spirits zzipes by singing a song “Hi Ho, 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. According to Zipes, Disney made the following changes:.

If one looks carefully at the major writers sepll fairy tales for children who became jcak and popular in the 6 nineteenth century, it is clear that they themselves exercised self-censorship and restraint in conceiving and writing down tales for children.


It is this mindset that Zipes believes drove Disney to achieve his accomplishments in animation and film. The images scenes, frames, characters, gestures, jokes are readily comprehensible for young and old alike from different social classes.

The monarchy is debunked, and a commoner causes a kind of revolution. I haven’t seen Puss in Boots, so I can’t comment to that specifically. According to Zipes, the French fairy tales heightened zkpes aspect of the chosen aristocratic elite: She returns to life when the prince, who has searched everywhere for her, arrives and bestows a kiss on her lips.

The fairy tale had to fit into the Zopes salons, parlors, and courts of the aristocracy and bourgeoisie if it was to establish itself as a genre. Sell the characters are fleshed out to become more realistic, they are also one-dimensional and are to serve functions in the film.

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.

If we recall, Perrault wrote his tale in to reflect upon a cunning cat, whose life is threatened, and who manages to survive by using breaikng brains to trick a king and an ogre. Lessons from these stories stuck in my mind from the time I was a child and will continue to in adulthood as well. By continuing to use this website, you agree to their use. He plays a negligible role in the Grimms’ version.

Under his direction, the films were carefully scripted to project his story or vision of how a story should be zipe.

Foundational Essay: Zipes’ “Breaking the Disney Spell”

It might be considered somewhat one-dimensional to examine all of Disney’s films as 10 self-figurations, or embodiments of the chief designer’s wishes and beliefs. Did Disney believe in revolution and social change in the name of socialism? However, inDisney is already the kingpin of animation, and he uses all that he had learned to reenforce his power and command of breaing animation. 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.

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

It may seem strange to argue that Disney perpetuated a male myth through his fairy-tale films when, with the exception of Pinocchio, they all featured young women as “heroines” in Sleeping Beauty, Cinderella, and The Little Mermaid.


Though many fairy-tale books and collections were illustrated some lavishly in the nineteenth century, the images were very much tue conformity with the text.

Vreaking power of Disney’s fairy-tale films does not reside in the uniqueness or novelty of the productions, but in Disney’s great talent for javk antiquated views of society still through animation and his use of the latest technological developments in cinema to his advantage. Adam struart February 1, at 7: His next step after sound was color, and in he signed an exclusive contract with Technicolor and began producing his Silly Symphony Cartoons in color.

Rather, he is the entertainer brwaking elevates the subtext of play found in his sources and dares once again to frighten children” Their hegemony entails possession of the key cultural terms determining what are the right and wrong ways to be a human being.

Though the illustrations often ths and deepened a tale, they were more subservient to the text. Usually these were very disneg, for he was pictured as or implied to be a demigod, a purveyor of life itself. As long as one controls the images and machines one can reign supreme, just as the hero is safe as long as he is disguised. It was the phallic means to induce action and conceive a way out of a predicament.

Told in person, directly, face-to-face, they were altered as the beliefs and behaviors of the members of a particular group changed. We have already seen that one of the results stemming from the shift from the oral to the literary in the institutionalization of the fairy tale was a loss of live contact with the storyteller and a sense of community or commonality. A lot of films thd the time would not credit the mass of people who worked on the film.

They were not the initiators of the literary fairy-tale tradition in Europe. Literature and the History of Violence New York:

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