CULTURAL AMBIVALENCE OF RED COLOR (BASED ON ANIMATED FILM ADAPTATION OF THE FAIRY TALE «KROSHECHKA-KHAVROSHECHKA»)

2021 ◽  
Keyword(s):  
Fairy Tale ◽  
Film Adaptation ◽  
Red Color ◽  
Animated Film

scholarly journals DRAMA, IDYLL OG EVENTYR. GUNNAR SOMMERFELDTS FILMADAPTASJON (1921) AV HAMSUNS MARKENS GRØDE

Nordlit ◽  
2016 ◽  
Author(s):  
Lisbeth P. Wærp
Keyword(s):  
Nobel Prize ◽  
Fairy Tale ◽  
Film Adaptation

This article examines Gunnar Sommerfeldt’s 1921 silent movie adaptation of Knut Hamsun’s Nobel Prize novel Markens Grøde [Growth of the Soil] (1917). The article argues that what characterizes this very first Hamsun film adaptation is its emphasis on the dramatic and the spectacular and its foregrounding of northern Norwegian nature. Inspired by Martin Lefebvre’s distinction in Landscape and Film (2006) between nature-as-setting and nature-as-landscape, this article argues that the film not only uses nature as its main setting, but that it also makes use of a series of autonomous landscapes with a fairy tale dimension. Several of its visual compositions of persons and landscapes seem to be inspired by Norwegian nature and fairy tale painter Theodor Kittelsen’s work, e.g. Soria Moria Slott, Nøkken, Pesta and Norge, Norge. 

scholarly journals “The Three Little Pigs”: Evolution of a fairy tale plot in a picture book of the twentieth century

2021 ◽  
Vol 19 (1) ◽  
pp. 215-234
Author(s):  
Olga Mäeots ◽  
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Picture Books ◽  
Fairy Tale ◽  
Picture Book ◽  
Visual Narrative ◽  
Multiple Perspectives ◽  
Folk Tales ◽  
True Story ◽  
Animated Film

“The Three Little Pigs” is one of the most famous folk tales and has been adapted many times. The paper is devoted to the evolution of the classical narration as it was presented in picture-books in the 20 th century. The revisions examined are: Walt Disney’s book based on the animated film (1933), Russian adaptation made by Sergey Mikhalkov (1936, 1957) as well as two picture-books which were published at the end of 20 th century in USA and Great Britain and suggest new versions of the classical story — Jon Scieszka’s and Lane Smith’s “The True Story of the 3 Little Pigs” (1989) and “The Three Little Wolves and the Big Bad Pig” by Eugene Trivizas and Helen Oxenbury (1993). All the books demonstrate different variants of interaction between the textual and visual contents. The recent versions of the tale reveal important trends: visual narrative presents a substantive semantics and plays increasingly significant role in modern picture-books. The evaluation of the genre introduces multiple perspectives and challenge reader to interact, to create ambiguous meanings rather than suggest a define statement — thus making reception more complicated and inspiring.

scholarly journals Fairy-tale motifs in a translation of the film adaptation of the literary work Modrý lampáš (Das Blaue Licht)

Ars Aeterna ◽  
2020 ◽  
Vol 12 (2) ◽  
pp. 45-58
Author(s):  
Andrej Zahorák
Keyword(s):  
Conceptual Framework ◽  
Blue Light ◽  
Fairy Tale ◽  
Comprehensive Evaluation ◽  
Literary Work ◽  
Film Adaptation ◽  
Expressive Function ◽  
Audiovisual Work ◽  
Linguistic Reality ◽  
The Way

AbstractThe paper deals with the translation of the film adaptation of the literary work Das Blaue Licht (‘The Blue Light’), primarily intended for child recipients. The aim of this paper is to present a conceptual framework to describe specific aspects of communication-translation (translating children’s and youth literature, aspects of age and the projection of ideas in a different mode of adaptation), and subsequently provide a comprehensive evaluation related to the optimality of the chosen translation procedures and strategies in the Slovak dubbed version of the above-mentioned audiovisual work. The focus is on how the semantic and expressive function of the original is preserved, taking into account the way linguistic reality is depicted in communication with the child recipient.

scholarly journals Roses in Amber: Gendered Discourse in Disney’s 2017 Adaptation of Villeneuve’s Fairytale Beauty and the Beast

2021 ◽  
Author(s):  
Atoof Abdullah Rashed ◽  
Laila. M. Al-Sharqi
Keyword(s):  
Fairy Tale ◽  
Film Adaptation ◽  
Cultural Appropriation ◽  
Beauty And The Beast ◽  
Diversity And Inclusion ◽  
Action Film ◽  
Feminist Discourse ◽  
Gendered Discourse ◽  
Live Action ◽  
Made In

This study considers the dialogic relationship between the 2017 Disney live-action film Beauty and the Beast with Gabrielle-Suzanne de Villeneuve’s fairy tale and Disney’s 1991 animated version. Drawing on cultural and feminist discourse, the study seeks to examine Disney’s live-action film for incidents of cultural appropriation of gender representation compared to Villeneuve’s fairy tale and Disney’s 1991 animated version. The Study argues that the 2017 film adaptation reverses the traditional patriarchal notions and embraces a transgressive feminist discourse/approach as part of Disney’s strategy of diversity and inclusion of gender, race, class, and sexual orientation as constantly evolving cultural categories. This study finds significant alterations made to the physical and psychological attributes of the 2017 film’s three characters: Beauty/Belle, the Beast, and the Enchantress, changes that align with the film’s gendered discourse. By reversing the characteristic privileging of the male and the empowerment of the female, the live-action succeeds in addressing the contemporary audience demands of diversity and inclusion. The study concludes that the changes made in the 2017 film adaptation displace the oppressive patriarchal notions and stereotypical modes of representing the male and female as they have been perceived in the original fairy tale, for they are no longer compatible with contemporary cultures’ assumptions on gender.

The Irresistible Fairy Tale

2012 ◽  
Author(s):  
Jack Zipes
Keyword(s):  
Nineteenth Century ◽  
Cognitive Science ◽  
Evolutionary Theory ◽  
Literary Theory ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Great Difficulty ◽  
Film Adaptation ◽  
Wide Range ◽  
The World

If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread—or why so many people cannot resist its appeal, no matter how it changes or what form it takes. This book presents a provocative new theory about why fairy tales were created and retold—and why they became such an indelible and infinitely adaptable part of cultures around the world. Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, the book presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making its case, the book considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's “Bluebeard”; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions. While we may never be able to fully explain fairy tales, this book provides a powerful theory of how and why they evolved—and why we still use them to make meaning of our lives.

scholarly journals ‘I don’t have a skull… Or bones’: Minor Characters in Disney Animation

Animation ◽  
2021 ◽  
Vol 16 (1-2) ◽  
pp. 36-50
Author(s):  
Linn Lönroth
Keyword(s):  
Fairy Tale ◽  
Character Theory ◽  
Literary Studies ◽  
Film Performance ◽  
Minor Characters ◽  
Animated Films ◽  
Aesthetic Style ◽  
Animated Film ◽  
Fictional Worlds ◽  
The Aesthetic

This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.

Into the Woods from Stage to Screen

2019 ◽  
pp. 105-124
Author(s):  
Mark Eden Horowitz
Keyword(s):  
Fairy Tale ◽  
Film Adaptation ◽  
Stephen Sondheim ◽  
Film Musicals

This chapter addresses the production of the movie adaptation of Into the Woods. It exploits interviews with composer-lyricist Stephen Sondheim, director Rob Marshall, screenwriter James Lapine (also the stage librettist and director), orchestrator Jonathan Tunick, and musical director Paul Gemignani, most of whom were also involved with the original Broadway production, to offer insights into the process of putting the ultimate fairy tale on the big screen. The interviews reveal surprising aspects of the movie’s production, such as the fact that the songs were recorded three different ways: a full orchestra track for the singers to rehearse to, a studio recording with the singers and orchestra together, and live on-set recordings. The final soundtrack includes a mixture of these three options, providing a solution to the age-old problem of how to make singing in film musicals appear natural. The chapter also examines why some of the songs were cut, plus other intriguing and poignant insights into changes made for the film adaptation.

scholarly journals THE FIRST SCREENING OF ALICE IN WONDERLAND (1903)

2021 ◽  
Vol 17 (1) ◽  
pp. 75-98
Author(s):  
EKATERINA V. SALNIKOVA ◽  
Keyword(s):  
Fairy Tale ◽  
Adult Life ◽  
Silent Film ◽  
Film Adaptation ◽  
Early Cinema ◽  
Political Union ◽  
Alice In Wonderland ◽  
Fantasy World ◽  
The Individual ◽  
Almost All

The article is dedicated to the British silent film Alice in Wonderland by Percy Stow and Cecil Hepworth, which was found and restored in 2010. The 12-minute film was unusually long for early cinema. Almost all of the survived credits annotate several short scenes at once, showing their interconnection or, conversely, apartness from each other. This suggests that some scenes were sold not separately, but as a series of scenes united by a credit. Structurally, each fragment of the film, consisting of 2–3 scenes, is similar to one episode of series. Therefore, the origin of the principles of seriality in cinema can be associated with film adaptations of fairy-tale stories. The concept of space demonstrates the inner duality of the Wonderland. The private part of it looks like an English landscape garden, while the space of the Queen and her entourage is designed as a classicist regular park. In his adaptation (2010) of Carroll’s fairy-tale, Tim Burton will further unfold the theme of duality and conflict inside the Wonderland. In the 1903 film adaptation, Alice was played by May Clark, a grown-up girl who worked at the Hepworth studio. The dreamlike nature of the screen reality is emphasized by the restraint of the amateur performers’ play and the unobtrusiveness of the fantastic, when the screen fantasy world is both similar and different from the everyday life. The marriageable age of the heroine and some of the scenes that look like Alice’s “going through the torments” make us interpret the action as the embodiment of her unconscious. The magic garden, where a young girl is so eager to get, a symbol of the desirable joys of an adult life, becomes a nightmare for Alice. The film was released in the same year as the Women’s Social and Political Union (WSPU) was established, and it merged into an era of revision of Victorian ideals and rejection of the perception of women in line with patriarchal values. Tim Burton’s film, created in the era of the new emancipation and reconsideration of gender, largely corresponds to the first screen adaptation of Alice in Wonderland, presenting the Victorian world as a generalized image of a society that suppresses the individual and naturally provokes protest.

scholarly journals Magic Folk Tales in Intersemiotic Translation

2019 ◽  
Vol 23 (2) ◽  
pp. 415-434
Author(s):  
Natalia V Shchurik ◽  
Vera E Gorshkova
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Surface Structures ◽  
Film Adaptation ◽  
Integral Model ◽  
Folk Tales ◽  
Beauty And The Beast ◽  
Structural Identity ◽  
The Common ◽  
The One

The present paper examines intersemiotic translation of magic folk tales. Research objective is to show the structural identity of the surface structure which can be described as a sequence of plot elements (“functions”) of fairy-tale characters; in semiotic terms it is explained by the existence of a universal matrix defining the law of genre. The authors go on to the cognitive-culturological aspect of fairy tales in terms of N. Chomsky. This research paper has clearly shown that “functions” of the surface structures correspond to plans, scenarios and frames of the deep structures, which differ in British and Russian magic fairy folk tales (wonder folk tales). Numbers and proper names are the main permanent elements of fairy tale narrative: on the level of the surface structures they connect the universal matrix of a fairy tale discourse organizing space and rhythm and at the level of the deep structures - they help to understand the main features of the national character. The study is based on 13 fairy-tale film corpus, under the common theme “Beauty and the Beast”, film adaptations of the fairy tales “La Belle et la Bête” by J.-M. Leprens de Beaumont (1757) and “The Scarlet Flower” by S.T. Aksakov (1858). Hence, the analysis of the latter based on the works of R. Jacobson and W. Eco and understood by the authors as a kind of intersemiotic translation / interpretation that, on the one hand, proves universality of the proposed algorithm for studying fairy discourse in synchrony and diachrony. On the other hand, it plays the most important role in intersemiotic translation of diachronic aspect because it deals with changing the “integral model of reality”, which is reflected, in particular, in changing the on-screen presentation / interpretation of certain aspects of the fairy-tale narrative. Finally, it is worth pointing out that the conclusions can be used to study plurality of film adaptation as a form of intersemiotic translation.

scholarly journals Counterspaces of Resistance: Peter Carey’s Bliss

2021 ◽  
pp. 67-78
Author(s):  
Barbara Klonowska
Keyword(s):  
Middle Class ◽  
Cultural Production ◽  
Fairy Tale ◽  
Social Realism ◽  
Film Adaptation ◽  
The Novel ◽  
Cultural Products ◽  
Alternative Lifestyle ◽  
Literary Convention ◽  
Intrinsic Feature

The article discusses how Peter Carey’s 1980 novel Bliss constructs and exam- ines various counterspaces both in and beyond the text. First, it shows how the plot jux- taposes the consumerist middle-class suburban model of life with an alternative lifestyle, presenting the attractions and limitations of both, yet preferring rather the latter. Secondly, at the level of literary convention, the text activates the strategies of comic social realism only to juxtapose them with elements of fantasy, fairy tale and myth, thus undermining the representational powers of the former and hinting at other possibilities of representation. Finally, the film adaptation of the novel shows how even rebellious or critical texts may become ‘domesticated’ or absorbed by the dominating logic of cultural production, thus once again demonstrating the ambivalent position of works of art in general, and this nov- el in particular. The article argues that the ambivalence engrained in the text is an intrinsic feature, not only of Australian culture or heterotopias but of most cultural products and practices inevitably entangled in the double logic of conforming and resistance.

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