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

2021 ◽  
Vol 5 (1) ◽  
pp. 126-143
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.

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.

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.

Visual affect in films: a semiotic approach

Semiotica ◽  
2021 ◽  
Vol 2021 (239) ◽  
pp. 99-124
Author(s):  
Yi Jing
Keyword(s):  
Facial Expressions ◽  
Visual Media ◽  
Meaning Potential ◽  
Action Film ◽  
Semiotic Approach ◽  
Semiotic Perspective ◽  
Affective Meanings ◽  
Live Action

Abstract This study investigates affective meanings expressed in facial expressions and bodily gestures from a semiotic perspective. Particularly, the study focuses on disentangling relations of affective meanings and exploring the meaning potential of facial expressions and bodily gestures. Based on the analysis of over three hundred screenshots from two films (one animation and one live-action film), this study proposes a system of visual affect, as well as a system of visual resources involved in the expression of visual affect. The system of visual affect makes a further step in the investigation of affective meanings afforded by facial expressions and bodily gestures, and can provide methodological insights into the examination of affective meanings expressed visually. The system of visual resources provides a more meaning-motivated framework for systematic tracking of the visual resources, which may be applied to the analysis of other visual media apart from films.

scholarly journals Film genre patterns and complex narrative strategies in the service of authorship

2019 ◽  
Vol 24 ◽  
pp. 25-37
Author(s):  
Andrea Virginás
Keyword(s):  
Main Issue ◽  
Black Swan ◽  
Narrative Strategies ◽  
Film Genre ◽  
Action Film ◽  
Film Genres ◽  
Selection Of ◽  
Made In

Film genre patterns and complex narrative strategies in the service of authorshipFrom the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.

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. 

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