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Little Red Riding Hood’ in the 21St Century: Adaptation, Archetypes, and the Appropriation of a Fairy Tale

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Little Red Riding Hood’ in the 21St Century: Adaptation, Archetypes, and the Appropriation of a Fairy Tale ‘Little Red Riding Hood’ in the 21st Century: adaptation, archetypes, and the appropriation of a fairy tale. By Natalie Hayton PhD May 2013 De Montfort University Funded by the Arts and Humanities Research Council 2 Acknowledgements Firstly, I would like to thank the Arts and Humanities Research Council for funding this project, allowing me to undertake full-time research. Secondly, I would like to thank my supervisors, Deborah Cartmell and Imelda Whelehan, for their amazing, unfaltering, support and guidance. And thirdly, I would like to thank all those who kept an ‘eye out’ for a hint of a red cloak, or a red coat, or a red dress – an image which will, now, haunt me forever. 3 Abstract This interdisciplinary, archetypal study considers the numerous adaptation processes and techniques involved in the transposition of the fairy tale from one medium to another, exploring post-2000 adult adaptations and appropriations of ‘Little Red Riding Hood’ across a variety of high-art and popular media, such as advertising, video gaming, and fine art, with a focus on literature and film. As well as examining explicit re-tellings of the tale such as Catherine Hardwicke’s Red Riding Hood (2011), more implicit and intertextual references are discussed, with the intention of acknowledging the pervasive, and at times, unconscious nature of the adaptation process. This can be seen in films like The Village (2004), Hard Candy (2005) and the television series Merlin (2008 - ). As a means of analysing the material I adopt a feminist-Jungian theoretical model which enables the consideration of the mythological and ideological concepts inherent to the works. Specifically, this establishes how Red Riding Hood can be understood as a shifting archetype when compared to her fairy tale sisters such as Snow White, Cinderella, Sleeping Beauty et al, thus allowing for so many diverse portrayals of her character: as the child, the innocent victim, the femme-fatale, and the monstrous feminine. The rationale behind the thesis is threefold; firstly, ‘Little Red Riding Hood’ is typically understood as a cautionary tale, rather than a female quest narrative, therefore, I will explore how the tale is often used as a vehicle for post/feminist issues and/or gender anxieties, providing a commentary on the construction and perception of girls’ and women’s roles in contemporary Western society. Secondly, the work creates a space for the acknowledgement and discussion of unconscious appropriation which has so far remained on the margins of adaptation studies. And thirdly, to establish fairy tales, using ‘Little Red Riding Hood’ as an example, as the ultimate intertext(s), demonstrating how characters, themes and plots are continually (re)appropriated. 4 Contents Abstract ...................................................................................................................................... 3 List of Figures ............................................................................................................................ 6 Introduction Fairy Tales and Adaptation: Mythological or Ideological? ................................ 11 The Hero’s Quest and Female Individuation ................................................................................................... 18 Archetypes, Binaries, and a Feminist-Jungian Theoretical Model .................................................................. 27 Visual Culture and the Collective Un/conscious ............................................................................................. 36 Contribution to Research ................................................................................................................................. 40 Chapter Summary ............................................................................................................................................ 42 Chapter 1 Trickster, Courtesan, or Damsel in Distress? Defining Little Red Riding Hood .... 50 Paul Delarue and ‘The Grandmother’s Tale’ ................................................................................................... 52 Charles Perrault and ‘Le Petit Chaperon Rouge’ ............................................................................................. 63 Jacob and Wilhelm Grimm and ‘Rotkäppchen’ ............................................................................................... 70 Visual Culture and Illustrating the Story for Children’s Books ....................................................................... 81 Chapter 2 ‘Little Red Riding Hood’ and the Moral Panic of Paedophilia in David Slade’s Hard Candy (2005) and Paul Andrew Williams’s London to Brighton (2006) ...................... 94 Red Riding Hood as Paedophilic Victim ......................................................................................................... 97 Paedophilia and the Collective Shadow ......................................................................................................... 109 Chapter 3 ‘If there’s a beast in men, it meets its match in women too’: She-Wolves and the Monstrous Feminine from Angela Carter’s Werewolf Trilogy (1979) to Michael Dougherty’s Trick ‘R Treat (2008) ............................................................................................................. 121 The Reproductive Body and Rites of Passage ............................................................................................... 124 The Female Werewolf Aesthetic.................................................................................................................... 140 Female Gangs, Violence, and Aggression. .................................................................................................... 145 5 Chapter 4 Cloaked Conspiracies: Romance and Allegory in M. Night Shyamalan’s The Village (2004) and Catherine Hardwicke’s Red Riding Hood (2011). .................................. 154 ‘Little Red Riding Hood’ and Political Allegory in the 21st Century............................................................. 157 Fairy Tales and the Dark Romance Genre ..................................................................................................... 173 Chapter 5 Chapter 5: Red Riding Hood as ‘Cameo’ in Film and Television ........................ 188 The Child Archetype ...................................................................................................................................... 192 Rites of Passage ............................................................................................................................................. 205 Chapter 6 50 Shades of ‘Little Red Riding Hood’: Commodified Forms and the Appropriation of a Fairy Tale. ............................................................................................... 229 Advertising and Iconophilia ........................................................................................................................... 229 Fifty Shades of Red Riding Hood .................................................................................................................. 248 Conclusion Contemporary Cautionary Tales: ‘Little Red Riding Hood’ and the Postfeminist Retreatist Paradigm ................................................................................................................ 276 Appendix Publications ........................................................................................................... 293 ‘Unconscious Adaptation: Hard Candy as Little Red Riding Hood.’ ............................................................ 293 Adaptation. Volume 4, Issue 1, 2011. ............................................................................................................ 293 Cloaked Conspiracies: ‘Catherine Hardwicke’s Red Riding Hood (2011)’ Adaptation. Volume 5, Issue 1, 2012. .............................................................................................................................................................. 322 Bibliography .......................................................................................................................... 328 6 List of Figures Figure 1: Three Ages of Woman and Death by Hans Baldung-Grien. 1510............................ 59 Figure 2: Three Ages of Woman and Death by Hans Baldung-Grien ca. 1540-1543. ............. 59 Figure 3: Woodcut for 'Le Petit Chaperon Rouge' ................................................................... 64 Figure 4: Mary Magdalene by Timoteo Viti. 1508.................................................................. 67 Figure 5: Little Red Riding Hood series by Walter Crane. 1875. ............................................ 69 Figure 6: Adam and Eve by Albrecht Dürer. 1504. ................................................................. 69 Figure 7: Little Red Riding Hood series by Walter Crane. 1875. ............................................ 74 Figure 8: Little Red Riding Hood series by Walter Crane. 1875. ............................................ 75 Figure 9: Lady Lilith by Gabrielle Rossetti. 1868.................................................................... 75 Figure 10: Maidens Picking Flowers by a Stream by John W. Waterhouse. 1911. ................ 75 Figure 11: Little Red Riding Hood by Eugene Feyen. 1846. ................................................... 83 Figure 12: Little Red Riding Hood series by Gustav Doré. 1862. ........................................... 84 Figure 13: Little Red
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