scholarly journals Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)

Wielogłos ◽  
2021 ◽  
pp. 151-181
Author(s):  
Maciej Skowera
Keyword(s):  
Golden Age ◽  
Fairy Tale ◽  
Sleeping Beauty ◽  
Snow White ◽  
Animated Films ◽  
Cultural Texts ◽  
Model Film

[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.

Snow White and the Seven Dwarfs, Cinderella and Sleeping Beauty: The Components of Costume Design in Disney’s Early Hand-Drawn Animated Feature Films

Animation ◽  
2018 ◽  
Vol 13 (1) ◽  
pp. 7-19 ◽  
Author(s):  
Maarit Kalmakurki
Keyword(s):  
Design Process ◽  
Costume Design ◽  
Sleeping Beauty ◽  
Feature Films ◽  
Principal Character ◽  
Snow White ◽  
Animated Films ◽  
Character Design ◽  
History Of ◽  
Live Action

Costumes in feature films can be deliberately used for narrative purposes to reveal or conceal something related to the plot, functioning as a key element for cinematic storytelling. Costume design in animation is an integral part of character creation; however, relatively little is known about the design process. Previous research concentrates on either the history of hand-drawn animation, the principles of making animated films or character construction. This article presents several key components of the animators’ costume design process in Walt Disney’s animated feature films Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959). The author demonstrates that the costume design in these films was a multi-layered process. For example, for Snow White, the costume silhouette of the final animation is visible in the early conceptual designs whereas, for Cinderella or Princess Aurora, the principal character animators designed the final costume. Additionally, the slow production time influenced the style of the costumes: small details on costumes and complex constructions were not used as it would have taken too long for them to be drawn. The article also reveals that animators used live-action filming and rotoscoping as tools for designing costumes. Furthermore, costumes that were used in pre-production filming for rotoscope were different in their construction from everyday garments. The work of a costume designer existed in the character design process, although not as a separate profession. This article aims to highlight the importance of characters’ costumes in Disney’s early hand-drawn animated films and the different ways costumes have been designed for animated characters.

scholarly journals Transformacje wzorców baśniowych w literaturze dziecięcej obecnej na współczesnym rynku wydawniczym

2018 ◽  
Vol 23 ◽  
pp. 135-151
Author(s):  
Kamila Kowalczyk
Keyword(s):  
Popular Culture ◽  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Children’S Literature ◽  
Sleeping Beauty ◽  
Snow White ◽  
Gender Education ◽  
Little Red Riding Hood

Transformation of fairy tales patterns in children’s literature available on the contemporary publishing marketWhat the contemporary publishing market offers the youngest readers are texts that make various forms of fairy tale characters — a  strongly representative group among them consists of texts that are transformations of fairy tale patterns that are deeply rooted in the mass imaginations including children’s imagination, which promote a  new version of a  well-known story: fairy tale renarrations. Such texts not only constitute evidence of changes in the fairy tale genre, but also prove the continuous updates on fairy tales. The aim of the article is to present and discuss how the authors modify specific characteristics of the fairy tale and play with its tradition. The examples of recognizable fairy tale patterns that are deeply rooted in the culture Little Red Riding Hood, Snow White, Hansel and Gretel, Sleeping Beauty, Cinderella were used to present the primary mechanisms of use and modification of fairy tales in children’s literature on the post-2000 Polish publishing market.The description of intertextual relationships between the fairy tale patterns and their renarrations renarration mechanisms has been supplemented with an analysis of influence of popular culture on children’s literature interpenetrating of cultural and literary circulations and the fashion for fairy tales. The studied works include those that have been written with gender education in mind, promotion of knowledge on rights of a  child or the environment and those primary aim of which is to entertain the young audience through reading. The article is also an encouragement to reflection on the genealogy of contemporary fairy tales and the shape, in which the “children’s fabulous fairy-tale-sphere” functions, and the factors that influence it.

scholarly journals The stereotypical representation of women in the classic fairy tales Snow White, Cinderella, and Sleeping Beauty

2021 ◽  
Vol 13 (1) ◽  
pp. 21
Author(s):  
Anisa Dyah Berlianti
Keyword(s):  
Narrative Analysis ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Sleeping Beauty ◽  
Main Menu ◽  
Happy Ending ◽  
Representation Of Women ◽  
Snow White ◽  
Natural Beauty ◽  
White Horse

The stereotype that emerges from some classic fairy tales is a princess who has a beautiful face and an angelic heart, a prince on a white horse who is handsome and charming, and a happy ending forever. These three sweet things are generally always the main menu served in bedtime fairy tales, including the classic fairy tales Snow White, Cinderella, and Sleeping Beauty. Besides sounding beautiful, the plot and characterization presented in the classic fairy tale represent a woman through feminine standards packaged through stereotypes. This research uses qualitative research methods and narrative analysis. The research results found details of the seven functional characters of the characters in the fairy tale. It can then be seen that various stereotypical representations aimed at women in the three tales, ranging from the obsession with natural beauty, misconceptions about the meaning of ambition, and marriage, are the solution for all the problems of a woman.

The First Nutcracker, the Enchantment of International Relations, and the Franco-Russian Alliance

2016 ◽  
Vol 34 (2) ◽  
pp. 119-149
Author(s):  
Damien Mahiet
Keyword(s):  
International Relations ◽  
Cultural History ◽  
Fairy Tale ◽  
Sleeping Beauty ◽  
The State ◽  
The Political ◽  
Revolutionary Era ◽  
History Of

Despite the lively scholarly debate on the place of The Sleeping Beauty (1890) in the political and cultural history of the Franco-Russian alliance in the 1890s, the representation of international relations in the first production of The Nutcracker (1892) has so far received little attention. This representation includes the well-known series of character dances in the second act of the ballet, but also the use of French fashion from the revolutionary era to costume the party guests, the mechanical dolls, the toy soldiers, and even Prince Nutcracker. The fairy-tale world offered a frame that not only promoted the absolutist aspirations of Alexander III's regime, but also solved the symbolic challenge of a problematic alliance between republican France and tsarist Russia. The same visual repertoire informed diplomatic life: four years after The Nutcracker, in 1896, the décor for the state visit of Nicholas II and Alexandra Feodorovna in France duplicated that of the fairy-tale world on stage.

scholarly journals Speech Representation of Female Images in the Polycode Text of “Heroic” Cycle Cartoons of the Art Studio “Melnitsa”

2020 ◽  
pp. 67-81
Author(s):  
E. N. Ilyina ◽  
V. S. Tivo
Keyword(s):  
Comparative Analysis ◽  
Fairy Tale ◽  
Story Line ◽  
Female Images ◽  
Narrative Story ◽  
Modern Media ◽  
Animated Films ◽  
Speech Representation ◽  
Verbal Component ◽  
The Subject

The article is devoted to the study of the verbal component of animated films with a folk precedent basis. The relevance of the research is due to the need to study the conceptosphere of modern media texts conveying folklore imagery. The results of a comparative analysis of female images in animated films about Russian heroes are presented (Alyosha Popovich and Tugarin Zmey (2004), Dobrynya Nikitich and Zmey Gorynych (2006), Ilya Muromets and Nightingale the Robber (2007) in comparison with their folk prototypes. The issues of speech representation of the images of the mother and the bride / wife of a hero, traditional for the epic genre, as well as other female images, the appearance of which is due to the influence of other precedent sources, are considered. The conceptual proximity of the narrative-story line basis and the composition of the characters of the texts under study to the Russian fairy tale is proved. Particular attention is paid to the implementation of the stylistic technique of burlesque travesty, it is proved that this technique is the main means of creating a comic effect and performs a text-forming function in the studied polycode content. The scientific novelty of the work is seen in the fact that the verbal component of the animated films studied was not previously the subject of linguistic analysis.

scholarly journals Poetics of the Fairy Tale Princess: Products, Problems, & Possibilities / Poésie de la princesse des contes de fées : produits, problèmes et possibilités

2019 ◽  
Vol 46 (2) ◽  
pp. 17-32
Author(s):  
Courtney Lee Weida ◽  
Carlee Bradbury ◽  
Jaime Chris Weida
Keyword(s):  
Media Studies ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Focal Point ◽  
Interdisciplinary Collaboration ◽  
English Literature ◽  
Sleeping Beauty ◽  
Art Educator ◽  
Creative Interventions

Abstract: In the following paper, the authors analyze the prevalence of princess culture in the literature, film, and visual culture of young people. An art educator, art historian, and professor of English literature, the authors propose creative interventions through alternative resources and readings. Focusing on foundations of media studies and literature of Fairy-Tale Studies and girlhood studies, this interdisciplinary collaboration investigates complex creative predicaments of girlhood and princess media. Utilizing Princess Aurora and Sleeping Beauty as a case study and focal point, the authors discuss their collaborative arts research intended to explore problems and possibilities of princess culture. Keywords: Art Education; Arts Research; Fairy Tales; Media Studies, Princesses.Résumé : Les auteurs analysent la prévalence de la culture des princesses dans la littérature, les films et la culture visuelle des jeunes. Les auteures, une éducatrice artistique, une historienne et une professeure de littérature anglaise, proposent des actions créatives par le biais de ressources et lectures alternatives. Axée sur les fondements de l’étude des médias et sur la littérature liée à l’étude des contes de fées et de la jeunesse féminine, cette collaboration interdisciplinaire se penche sur les difficultés créatrices complexes des histoires de jeunesse féminine et de princesses. À partir d’une étude de cas de la princesse Aurora et de la Belle au bois dormant, les auteurs utilisent leur recherche artistique concertée pour analyser les problèmes et les possibilités de cette culture des princesses.Mots-clés : éducation artistique ; recherche artistique ; contes de fées ; étude des médias, princesses.

scholarly journals Renesans baśni

2017 ◽  
pp. 283-290
Author(s):  
Kamila Gieba
Keyword(s):  
Art Therapy ◽  
Fairy Tales ◽  
Mass Culture ◽  
Fairy Tale ◽  
Culture Volume ◽  
Cultural Texts ◽  
Potential Literature

The article’s aim is is to reviw two-volume monograph entitled Fairy tale in Contemporary Cultre  edited by Kornelia Ćwiklak (volume 1: Fairy tale’s limitless potential: literature – art – mass culture , volume 2: The human realm: education – psychoanalisys – art therapy ). Reviewed publication presents theoretical proposals and interpretations of cultural texts related to the fairy tales.

The Many Musical Medievalisms of Disney

2020 ◽  
pp. 689-708
Author(s):  
John Haines
Keyword(s):  
Eighteenth Century ◽  
Sixteenth Century ◽  
Middle Ages ◽  
Sleeping Beauty ◽  
Primary Concern ◽  
Common View ◽  
Cultural Phenomenon ◽  
Animated Films ◽  
The Many ◽  
The Middle Ages

This essay argues that the Disney Company is one of today’s main purveyors of medievalism. The idea of Disney as a force for medievalism may strike some academic readers as odd, given the still common view of medievalism as a primarily academic phenomenon. Rather, as argued in the first part of this essay, medievalism is a widespread cultural phenomenon, originating in the sixteenth century, out of which academic medievalism emerged in the eighteenth century. As part of this broader cultural medievalism, the Disney Company has played an increasingly important role in the twentieth and twenty-first centuries. Rather than the literalist historical medievalism that usually preoccupies academics, the Disney Company has followed a looser approach centered on key stereotypes, in keeping with the earliest and most pervasive concept of the Middle Ages from the sixteenth century onward. In all its medievalist products, ranging from early animated films to Fantasyland’s iconic monument the Sleeping Beauty Castle, Disney has made music a primary concern.

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