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.
|Published (Last):||16 January 2008|
|PDF File Size:||2.11 Mb|
|ePub File Size:||10.12 Mb|
|Price:||Free* [*Free Regsitration Required]|
This book will change forever the way speol look at the fairy tales of our youth. By now, Disney had divided his studio into numerous departments such as animation, layout, sound, music, storytelling, etc.
Breaking the Disney Spell | Jack Zipes –
A designing person is often a crafty person who manages to put his schemes into effect by hook or crook. A designer is someone who indicates with a distinctive mark, and Disney put his mark on everything in his studios. When the hero reveals himself, the king is enraged, but the hero grabs the princess and leads her to the king’s chauffeur. The diversion of the Disney fairy tale is geared toward nonreflective viewing.
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.
Under his direction, the films were carefully scripted to project his story or vision of how a story should be related.
The king is so overwhelmed by his performance that he offers his daughter’s hand in marriage, but first he wants to know who the masked champion is.
The films became an extension not of the animators, but of the man—the brand—who controlled it all behind the scenes. Stein and Day, The story is secondary, and if there is a major change in the plot, it centers on the power of the prince, the only one who can save Snow White, and he becomes the focal point by the end of the story.
Both processes are zipex connected with the contemporary mass movements. 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. Here it is important first to make some general remarks about the “violent” shift from the oral to the literary tradition and not just talk about the appropriation of the magic folk tale as a dialectical process.
As producer of the fairy-tale films and major owner of the Disney studios, he wanted to figure in the film and sought, as Crafton has noted, to create a more indelible means of self-figuration. I have to admit, I have a braeking defensive attitude about Disney. These tales did not represent communal values but rather the vales of a particular writer.
But before the making of Snow White, there were important developments in his life and in the film industry that are important to mention in order to grasp why and how Snow White became the first definitive animated fairy- tale film — definitive in the sense that it was to define the way other animated films in the genre of the fairy tale were to be made. Indeed, because it was born out of alienation, the literary breakinb tale fostered a search for new “magical” means to overcome the instrumentalization of the imagination.
Her father remains alive, and she was never forced to do the work of commoners such as wash the steps of the castle. 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.
Foundational Essay: Zipes’ “Breaking the Disney Spell”
That is, he celebrates his destiny, and insofar as he had shared marginal status with many Americans, he also celebrated an American myth of Horatio Alger: By this time, the fairy tale had expanded as a high art form operas, ballets, dramas and low art form folk plays, vaudevilles, and parodies as well as a form developed classically and experimentally for children and adults. Disney vowed to maintain complete control over all of his productions and introduced many innovations, like sound, improved animation, and color, to his animated films.
The prince appears at the very beginning of the film on a white horse and sings a song of love and devotion to Snow White.
In its place he put jokes and songs and fright effects, but he always seemed to diminish what he touched. 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.
Almost all the early animators were men, and their pens and camera work assume a distinctive phallic function in early animation. The white cat jumps in front with Puss, and they speed off with the king vainly chasing after them. Newer Post Older Post Home.
Next Article Overcoming Cultural Differences: It was commonplace to only credit the head of a department for particular part of production. 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.
He also made his films personal, allowing them to echo his own sentiments on national issues. What is good for Disney is good for the world, and what is good in a Disney fairy tale is good in the rest of the world. Modernity—the setting is obviously the twentieth century, and the modern minds are replacing the ancient. Plus, Disney isn’t what made fairy tales a “children’s thing” in the perception the general public; the Victorians had already done that decades before the Disney studio ever came to be.
In the meantime Puss explains to him that she will use a hypnotic machine behind the scenes so he can defeat the bull and win the approval of the king.