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. According to Jack Zipes in his article, “Breaking the Disney Spell,” in From Mouse to Mermaid: “[Walt] Disney employed the most up-to-date. Zipes argues that through his use of innovative technologies, ingenuity, and his own “American” grit, Walt Disney appropriated European fairy.

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At the same time, the hero’s black cat, a female, is having a romance with the royal white cat, who is the king’s chauffeur. With the rise of literacy and the invention of the printing press in the 15th century, the oral tradition of storytelling underwent an immense revolution.

Foundational Essay: Zipes’ “Breaking the Disney Spell”

John Canemaker Los Angeles: It is the vreaking of Disney’s infantile quest — the core of American mythology — that enabled him to strike a chord in American viewers soell the s to the present. As oral folk tales, they were intended to explain natural occurrences such as the change of the seasons and shifts in the weather or to celebrate the rites of harvesting, hunting, marriage, and conquest.

But what has the prince actually done to deserve all the credit?

Extremely few people could read, and the fairy tale in form and content furthered notions of elitism breakihg separation. Zipes argues that by the end of the nineteenth century, the literary fairy tale had the following crucial functions as institution in middle-class society:. The author creates meaning and then manipulates it to affect the disbey in the way that best satisfies their wishes, or that best addresses the needs of their agenda.

Disney took the story of Snow White and made it uniquely his, transforming it from something inherently German to something uniquely American. Scenes could now be staged and selected specially for the camera, and the movie maker could control both the material and its arrangement. The white cat jumps in front with Puss, beeaking they speed off with the king vainly chasing after them.


There is something sad in the manner in which Disney “violated” the literary genre of the fairy tale and packaged his versions in his name through the merchandising of all sorts of books, articles, clothing, and records.

However, Disney went much further than the Grimms to make his film more memorable than the tale, for he does not celebrate the domestication of women so much as the triumph of the banished and the underdogs.

His adaptation of the literary fairy tale for the screen led to the following changes in the institution of the genre: By now, Disney had divided his studio into numerous departments such as animation, layout, sound, music, storytelling, etc.

However, to understand Disney’s importance as designer and director of fairy-tale films that set a particular pattern and model as the film industry developed, it does make sense to elaborate on Crafton’s notions of self-figuration, for it provides an important clue for grasping the further development of the fairy tale as animated film or film in general.

It did not matter what story was projected just as long as the images astounded the audience, captured its imagination for a short period of time, and left the people laughing or staring in wonderment. Then they go to the movies together and see a film with Rudolph Vaselino, a reference to the famous Rudolph Valentino, as a bullfighter that spurs the imagination of Puss.

Of course, it would be a great exaggeration to maintain that Disney’s spell totally divested the classical fairy tales of their meaning and speol them with his own. By September ofafter making two Mickey Mouse shorts, Disney, similar to his masked champion in Puss in Boots, had devised a way to gain revenge on Mintz and other animation studios by producing the first animated cartoon with sound, Steamboat Willie, starring Mickey Mouse.

I give him mad props not only for that, but also for helping to tye an amazing theme park!

Breaking the Disney Spell | Jack Zipes –

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: If we recall, it is the prince who frames the narrative. The dwarfs are hardworking and rich miners. 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.


Jack Zipes New York: The imposition of childish behavior on the dwarves, Snow Rhe resulting mothering, the age ambiguities in both Snow White and the dwarves, the “Cinderella” elements, and the suppression of any form of sexuality were transmitted by that theatrical tradition, which embodied a thoroughly developed philosophy of moral education in representations for children. However, spell domination of the word in the development of the fairy tale as genre was about to speell. In the Grimms’ version there is the sentimental death of her mother.

Her father remains alive, and she is never forced to do the work of commoners such as wash the steps of the castle. This loss was a result of the social-industrial transformations at the end of the nineteenth century with the Gemeinschaft community giving way to the Gesellschaft society. Instead of using technological innovations to promote and enhance communal narratives, he created a new zipew of storytelling that resisted change and did not dare to drift from the patriarchal order of production.

For Disney, the Grimms’ tale is not a vehicle to explore the deeper implications of the narrative and its history. When the hero reveals himself, the king is enraged, but the hero grabs the princess and leads her to the king’s chauffeur. These original and subversive tales have sustained the dynamic quality of the dialectical appropriation, for there has generally been a fear that the written word will fix a structure image, plot, etc.

On the other hand, many writers would parody, mock, question, and undermine the classical literary tradition and produce original and subversive tales that were part and parcel of the institution itself.

Breaking the Disney Spell. Of course, the hero will do anything to obtain the king’s daughter, and he must disguise himself as a masked bullfighter.