Th1 Story of Cinderella

TH1 STORY OF CINDERELLA Color or Black & White — 7 minutes Produced by the National Film Board of Canada, 1959. Suggested Uses: Literature and Art classes in primary and elementary grades. SYNOPSIS THE STORY OF CINDERELLA presents a new and delightful interpretation of the famous fairytale, as seen through watercolor and crayon drawings by fifth grade school children of the Montreal Protestant School Board. Narrated by children who take each character's part, the film is entirely a children's interpretation of the famous tale. CONCEPTS The following are the main learning concepts presented in the film. These points should be clear before showing the film, because by knowing them an accurate judgment may be made of the extent to which the film will be of use in the class. Some of these concepts are more difficult than others and their degree of application will be governed by the grade level at which the film is used: 1. Goodness is always rewarded and evil always punished. 2. Cinderella was named after her occupation and appearance. 3. Cinderella's goodness of heart was reflected in her attitude both to her stepsisters and to her stepmother. 4. Cinderella's goodness was rewarded through the help of her Fairy Godmother, SUGGESTED CLASS PREPARATION a) Introduction: This film can be used both as an introduction to the fairytale and as motivation for an Art class. The attention of the class may be focussed on three items which play a significant role in the tale: cinders, a pumpkin, a slipper — all of which may be used in the introduction to illustrate their importance in the molding of Cinderella's life. OVER b) Directive Questions Raised in the Film: 1. How did Cinderella get her name? 2. What was Cinderella's relation to her stepsisters? To her stepmother? 3. How do you account for her taking such abuse from her stepsisters ? 4. Enumerate the virtues of Cinderella and the vices of her wicked stepsisters and stepmother. 5. Do you feel the wicked stepsisters and stepmother were justly punished ? 6. What important part did the Fairy Godmother play in Cinderella's future ? 7. How do you feel about happy endings in fairytales ? 8. Describe Cinderella's and Prince Charming's life after they were married. 9. Do you agree with the children's conception of the characters in the film ? SUGGESTED FOLLOW-UP ACTIVITIES 1. Draw, paint, or prepare oral or written compositions on the following: a) Your own punishment of the wicked sisters and stepmother. b) Your own ending to the story of Cinderella. The film could possibly be stopped following Cinderella's flight from the ball to best utilize this question. c) Your conception of the main characters of this tale ten years later. RELATED VISUAL AIDS Films: Filmstrips: THE ROMANCE OF TRANSPORTATION CADET ROUSSELLE (NFB — Color) IN CANADA (NFB — 11 minutes) THE CHESAPEAKE AND THE SHANNON (NFB — Color) THE STORY OF PETER AND THE POTTER (NFB — 21 minutes) THE LOST SAILBOAT (NFB — B&W) TI-JEAN GOES LUMBERING (NFB — 16 minutes) Distribution Branch National Film Board of Canada 1959.

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Study Guide for Teachers and Students
Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
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Masaryk University Faculty of Arts Department of Germanic, Nordic and Dutch Studies To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context 2020 Mgr. Adéla Ficová Masaryk University Faculty of Arts Department of Germanic, Nordic and Dutch Studies Norwegian Language and Literature Mgr. Adéla Ficová To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context M.A. Thesis Supervisor: Mgr. Karolína Stehlíková, Ph.D. 2020 2 Statutory Declaration I hereby declare that I have written the submitted Master Thesis To Whom the Shoe Fits: Cinderella as a Cultural Phenomenon in the Czech and Norwegian Context independently. All the sources used for the purpose of finishing this thesis have been adequately referenced and are listed in the Bibliography. In Brno, 12 May 2020 ....................................... Mgr. Adéla Ficová 3 Acknowledgements I would like to express my sincere gratitude to my supervisor Mgr. Karolína Stehlíková, Ph.D., for her helpful guidance and valuable advices and shared enthusiasm for the topic. I also thank my parents and my friends for their encouragement and support. 4 Table of contents 1 Introduction ..................................................................................................................................... 6 1.1 Literature review ..................................................................................................................... 8 2 Historical genesis of the Cinderella fairy tale ................................................................................
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Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Electronic Theses and Dissertations Spring 5-2017 After the Shoe Fits: A Rhetorical Analysis of Four Versions of the Cinderella Narrative Faith L. Boren Abilene Christian University, [email protected] Follow this and additional works at: https://digitalcommons.acu.edu/etd Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Rhetoric Commons Recommended Citation Boren, Faith L., "After the Shoe Fits: A Rhetorical Analysis of Four Versions of the Cinderella Narrative" (2017). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 69. This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. ABSTRACT Fairy tales hold the power to influence societies and to challenge societal injustices, and the story of Cinderella exemplifies both of these roles. In this study, I conduct a rhetorical analysis of four different versions of the Cinderella narrative: Charles Perrault’s “Cendrillon,” the Brothers Grimm’s “Ascenputtel,” Anne Sexton’s “Cinderella,” and Disney’s Cinderella (2015). I examine Perrault’s “Cendrillon” and the Grimms’ “Aschenputtel” using constitutive rhetoric. This theory operates around the basic premise that rhetoric holds the power to aid in the shaping of societies. While analyzing “Cendrillon” and “Aschenputtel,” I specifically look for themes of classism and nationalism, respectively. I then examine Sexton’s “Cinderella” and Disney’s Cinderella (2015) using feminist standpoint theory as my theoretical lens.
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"If the Shoe Fits:" the Evolution of the Cinderella Fairy Tale from Literature to Television
University of Washington Tacoma UW Tacoma Digital Commons Global Honors Theses Global Honors Program Spring 2013 "If the Shoe Fits:" The volutE ion of the Cinderella Fairy Tale from Literature to Television Margaret L. Lundberg University of Washington - Tacoma Campus, [email protected] Follow this and additional works at: https://digitalcommons.tacoma.uw.edu/gh_theses Part of the Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Television Commons Recommended Citation Lundberg, Margaret L., ""If the Shoe Fits:" The vE olution of the Cinderella Fairy Tale from Literature to Television" (2013). Global Honors Theses. 11. https://digitalcommons.tacoma.uw.edu/gh_theses/11 This Undergraduate Thesis is brought to you for free and open access by the Global Honors Program at UW Tacoma Digital Commons. It has been accepted for inclusion in Global Honors Theses by an authorized administrator of UW Tacoma Digital Commons. “If the Shoe Fits” – The Evolution of the Cinderella Fairy Tale from Literature to Television Margaret Lundberg Arts, Media and Culture May 2013 Faculty Adviser: Dr. Divya McMillin Essay completed in partial fulfillment of the requirements for graduation with Global Honors, University of Washington, Tacoma Approved: _____________________________________ ___________________ Faculty Adviser Date _____________________________________ ____________________ Director, Global Honors Date ‘If the Shoe Fits’- Lundberg | 2 Abstract More than a millennium after the earliest-known version was committed to text, fairy tales continue to occupy our bookshelves and airwaves. The current popularity of fairy tale-based television programs such as Grimm and Once Upon a Time offer continued proof that the appeal of these tales is not lost on 21 st century audiences.
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