Introduction: Fairy Tale Films, Old Tales with a New Spin

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Notes

1. In terms of terminology, ‘folk tales’ are the orally distributed narratives disseminated in ‘premodern’ times, and ‘fairy tales’ their literary equivalent, which often utilise related themes, albeit frequently altered. The term ‘ wonder tale’ was favoured by Vladimir Propp and used to encompass both forms. The general absence of any fairies has created something of a mis- nomer yet ‘fairy tale’ is so commonly used it is unlikely to be replaced. An element of magic is often involved, although not guaranteed, particularly in many cinematic treatments, as we shall see. 2. Each show explores fairy tale features from a contemporary perspective. In Grimm a modern-day detective attempts to solve crimes based on tales from the brothers Grimm (initially) while additionally exploring his mythical ancestry. Once Upon a Time follows another detective (a female bounty hunter in this case) who takes up residence in Storybrooke, a town populated with fairy tale characters and ruled by an evil Queen called Regina. The heroine seeks to reclaim her son from Regina and break the curse that prevents resi- dents realising who they truly are. Sleepy Hollow pushes the detective prem- ise to an absurd limit in resurrecting Ichabod Crane and having him work alongside a modern-day detective investigating cult activity in the area. (Its creators, Roberto Orci and Alex Kurtzman, made a name for themselves with Hercules – which treats mythical figures with similar irreverence – and also worked on Lost, which the series references). Beauty and the Beast is based on another cult series (Ron Koslow’s 1980s CBS series of the same name) in which a male/female duo work together to solve crimes, combining procedural features with mythical elements. All these series occupy a distinct sub-genre of telefantasy – the supernatural detective series – inaugurated by the likes of Twin Peaks and The X-ﬁ les, creating a mythology that develops over the course of the series, giving viewers a number of mysteries to uncover, adding some human interest in terms of characterisation, while also making the most of fantasy’s narrative flexibility. As this summary suggests, both innovative and repetitive features are easy to discern, yet the growing interest in such shows is undeniable. For further discussion of the sub-genre see Short (2011b). 3. The ATU system was initiated by Anti Aarne in 1910, updated by Stith Thompson in 1961 and amended again by Hans Uther in 2004. Critics consider it to be too Western-centric, based on a geographically limited range of tales (the Grimm’s Household Tales being a major source), and has a tendency to be inaccurate, with the same tale potentially appearing in more than one category. The first issue has led to other classification systems, using the same principle of motif and number, for tales arising in other locations, while Uther has sought to include more international examples in his amendments to the index. A single method that will take into account cultural variants, and do away with any inaccuracy or repetition, remains the

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ideal, yet the familiarity of the ATU system is considered ample justification for referencing tale types in this research, accompanied by any additional influences considered relevant to a theme. A useful comparison of the AT and ATU classification systems can be found at: http://oaks.nvg.org/folktale- types.html. 4. Warner asserts the need to undertake socio-historical analysis to try and retrieve answers about the origins of fairy tales and their intentions, yet while this is a commendable aim the result will always be hugely variable, given that stories have been retold for differing reasons over the years, and any conclusions drawn are likely to be quite speculative. 5. The film’s title is alternatively referred to as Three Hazelnuts for Cinderella, the nuts serving as the method used to hide three dresses for the heroine’s makeover. 6. Ironically, this idea of being ‘low-culture’, although often pejoratively intended, has also been a cause to take fairy tales, and their folkloric prede- cessors, more seriously. Warner cites John Updike’s negative comment that, prior to television and pornography, fairy tales were ‘the life-lightening trash of preliterate peoples’ (1995: xiv) yet Carter reclaims this notion in proudly referring to them as ‘the perennially refreshed entertainment of the poor’, representing ‘the most vital connection we have with the imaginations of the ordinary men and women whose labour created our world’ (1990: ix), perceiving them to offer some insight into the difficulties of ordinary life, as well as common aspirations. It is their very ‘lowliness’ that has also led to claims of radical or subversive intentions smuggled through a medium that few took notice of. Warner equates this with a magic cloak of invisibility that enabled fairy tales to emerge as one of the few means of expressing female concerns (1995), while Zipes denotes politically progressive potential in stories where lowly figures triumph over the powerful, attributing certain folk and fairy tales with the ability to help us ‘break the magic spell’ that inhibits and disempowers us, enabling us to grasp our full potential (2002a). 7. Although von Trier has alluded to another source, a Danish fairy tale called ‘Golden Heart’ he was obsessed with as a boy, which ‘expressed the role of the martyr in its most extreme form’, he added features such as romantic sacrifice and a sea setting that are much closer to ‘The Little Mermaid’. (See his interview in Sight and Sound, October 1996, www.industrycentral.net/ director_interviews/LVT01.htm.) For an insightful analysis of Andersen’s tale and its cinematic treatment see White (1993), who mentions the interesting departure, I Have Heard the Mermaids Singing (Patricia Rozema, 1987). We might also add John Sayles’ The Secret of Roan Inish (1994), a variation of the mermaid legend, Selkies, which refutes Andersen’s dismal tone, and Anna Melikyan’s Mermaid (2007), which frustratingly reiterates a tragic finale for its heroine. Ch. 23 of Marina Warner’s From the Beast to the Blonde provides an interesting discussion of mermaid mythology, in which she contrasts the fatal call of sirens with Andersen’s (and Disney’s) silencing of the female voice, perceiving The Piano to reference similar themes in its heroine’s wilful silence, as well as her attraction to the idea of a watery demise (1995: 405–6). 8. Like Princess Mononoke (Hayao Miyazaki, 1997) – the first film to draw international attention to Studio Ghibli and particularly Miyazaki’s interesting depictions of female characters – the central relationship in Ponyo is framed Notes to Chapter 1 173

as a conciliation between nature and humanity, just as the ‘love’ between Chihiro and Haku in Spirited Away (Hayao Miyazaki, 2000) similarly elides romantic engagement, an idea approved by some critics (see Bacchilega and Reider, 2010), yet arguably makes these films somewhat infantile. 9. The story is found in Carter’s first volume of The Virago Book of Fairy Tales (1990). While wished-for children sometimes provide great happiness, in more ominous treatments they simply bring misery, suggesting they should never have been born. In the Grimm tale ‘The Pink’, a queen’s longing for a child is granted, giving birth to a son who is able to make wishes come true, yet this gift quickly brings tragedy. The boy is stolen, his parents separate for many years (the mother cruelly imprisoned to punish her perceived negligence) and they die just a few days after their son reunites the family. In other tales a new baby often results in the mother’s imminent death; she is either jealously killed (sometimes by a member of her own family) or dies in childbirth – her wish for a child paid for with her own life. We might regard such tales as a warning about the perils of reproduction at a time of high maternal mortality, as critics such as Warner have asserted. By the same token, the motif of wished-for children that turn out to be ‘monstrous’ may have been used to discuss unspeakable ideas. The parents in ‘Hans my Hedgehog’ are so ashamed of their abnormal offspring they rue their wish for a child and desire to be rid of him (inspiring a level of resentment and cruelty in his conduct towards others). These concerns about parenting and reproduction are discussed further in Chapter 5. 10. Jamshid Tehrani’s research was particularly newsworthy in using a biologi- cal system to test a folkloric hypothesis. Inspired by the historic-geographic approach, in which the familiarity of motifs in different parts of the world is attributed to travel and migration, the co-ordinates for ‘Red Riding Hood’ (ATU 333) and similar tales such as ‘The Wolf and the Kids’ (ATU 123) were plotted geographically in the areas where they were first recorded, seeking to map the route taken by ‘Red Riding Hood’ in Europe, Africa and Asia, and the cultural variants that resulted. The findings were considerably simplified in the news however, as Tehrani admits that assigning an accurate chronol- ogy to oral tales is notoriously difficult, making any attempt to argue a clear- cut ancestry tenuous at best (see Tehrani, 2013). 11. Warner (1992: 2) (cited by Petrie 1993: 3).

1 Finding Love and Fulfilling Dreams: Aspiring Underdogs and Humbled Heroines

1. For a fuller discussion of the Lurie–Lieberman debate, and the way it initiated the study of folklore and feminism, see Donald Haase’s introductory chapter (2004). 2. Lurie points out that the kind of heroine feminist critics most object to (our usual trio of Cinderella, Snow White and Sleeping Beauty) are a limited and ‘unrepresentative selection’ compared to the wealth of European folklore and affirms that tales recorded by folklorists, and published in more recent collections than the typical Andrew Lang anthology, provide more active heroines. Lieberman responds to Lurie’s point about a biased selection 174 Notes to Chapter 1

process by using one of its examples and conducts an analysis based solely on Andrew Lang’s Blue Fairy book (published in the late nineteenth century), negating to look at alternative heroines in more recent collections or offering any evidence of wider research to support her argument. 3. Lurie’s claims not only heralded a key debate in feminist criticism, they also instigated a re-evaluation of fairy tales, resulting in new collections featuring assertive heroines, and a wider cache of characters to inspire audiences and later writers. 4. Marina Warner’s book From the Beast to the Blonde: On Fairy Tales and their Tellers (1995) similarly argues the case for regarding fairy tales as a woman’s genre, used to covertly discuss mutual experiences and concerns. In her 1986 essay ‘To Spin a Yarn’, Rowe makes a similar contention. 5. Ironically, Lieberman did single out a particular strand of fairy tales she approved of – Animal Groom tales involving ‘female questers’ who journey to the ends of the earth for a man, such as ‘East of the Sun and West of the Moon’ (ATU 425A), claiming the heroine plays an ‘agentive’ role in re-humanising a character. While this plot is seemingly just as regressive as waiting for a prince, romanticising self-sacrifice in the name of love, the heroine is admired for being ‘active’, irrespective of motivation. Lieberman’s article is reprinted in Zipes (1984: 185–200). 6. ‘Kate Crackernuts’ is especially notable because it confronts so many tendencies often targeted by critics – while retaining marriage as the ultimate reward. The less attractive girl is the heroine, who disenchants the prettier half-sister her mother has disfigured, using her wits to ultimately marry them both off to princes. 7. Stone has since made the most of this ability to imaginatively transform tales. (See her essays ‘Burning Brightly’ (1993) and ‘Fire and Water’ (2004), in which she explains how two Grimm tales are retold to create heroines with greater agency and significance, allowing a punished girl to live in her version of ‘Frau Trude’ and changing the gender of the male hero in ‘The Water of Life’). These strategies were anticipated by Heather Lyons and Carolyn Heilbrun in the late seventies, while the seventeenth-century conteuses disguised and cross-dressed their heroines for similar ends: to counter the constraints of their gender and time. 8. Lucy Armitt cites Waelti-Walters in this observation (1982: 80), quoted by Armitt (1996: 28). 9. In early versions Snow White originated as the object of a king’s desire (a variation collected by the Grimms and later elaborated by Carter), Sleeping Beauty is a victim of sexual abuse (a motif discussed later in this chapter), and Cinderella’s abasement among the ashes is explicable as a means of deterring an incestuous father (an idea that related tale type ‘Donkeyskin/Catskin/All-kinds- of-fur’ (ATU 510B) expounds, presenting a darker explanation for the heroine’s disguise and flight from home, as noted by Tatar (1992) and Warner (1995)). 10. Zipes (2002a) elaborates his evaluation of the transition fairy tales have undergone. 11. See Maria Tatar’s Hard Facts of the Grimms’ Fairy Tales, in which she notes the way in which sexual matters were treated with distaste by the Grimms, affirming that they felt more comfortable detailing acts of violence than what she terms as ‘the facts of life’. One result of this tendency is that ‘intimations Notes to Chapter 1 175

of a father’s passion for his daughter are discreetly kept to a minimum, while the evil deeds of a stepmother are invariably writ large’ (2003: 150). 12. See Mirror, Mirror (Bernheimer, 1998) in which various female writers attest to the influence fairy tales have had on them. Authors responsible for popular fictional works with fairy tale motifs include Margaret Atwood, Isabelle Allende, A.S. Byatt and Angela Carter (as well as notable male writers such as Gregory Maguire and Neil Gaiman). The fact that there is a considerable audience for such work proves an extensive adult interest, although more work is needed on reception. The surlalune messageboard (surlalunefairytales.com/introduction/disneyfairytales.html) provides some insight into the variety of female fairy tale fans online, and their often divergent attitudes to fairy tales, particularly what is considered to be ‘negative’ or otherwise, while Brigid Cherry’s research (2009) into the relationship between horror fans and a childhood love of fairy tales affirms that it is not necessarily romantic overtones that gain prominence! 13. Generally considered one of the oldest fairy tales in existence, a number of scholars have attempted to trace the history of the Cinderella tale, including Jack Zipes, who contends that ‘the Cinderella type heroine was changed during the course of four millennia – approximately 7000 BC to 3000 BC – from a young active woman who is expected to pursue her own destiny under the guidance of a wise gift-bearing dead mother, into a helpless, inac- tive pubescent girl, whose major accomplishments are domestic, and who must obediently wait to be rescued by a male’ (2002b: 195). What stands out, however, even in his example of an early matrilineal version such as ‘Moon Brow’, is the same basic emphasis on female rivalry and marriage. These are the bare bones of the ‘Cinderella’ plot, after all, although modern versions often depart from both tendencies. Far from assigning more progressive features to the past, we should reassess what contemporary variations of the tale have to offer. As Zipes admits, the mass media (including film) ‘have presented variations on the Cinderella tale that either reinforce the patriarchal texts or place them in question’ (2002b: 197), yet he seems unable to discern many examples of questioning films, even in his more recent work. 14. The same phrase, ‘paying “lip service” to feminism’, has been adopted by a number of female critics, including various contributors to Fairy Tale Films: Visions of Ambiguity (Greenhill and Matrix, 2010), offering a veritable chorus of disapproval. 15. Although feminist critics often target Disney for providing unrealistic and uninspiring female role models it is important to question how much the acculturation theory is supported by research evidence. Interestingly, a cross- cultural survey conducted by Maya Gotz et al. (2005) into the way children incorporate media products in their creative play found that they were selec- tive in what images were chosen and the use made of them. The work is cited by Butler (2009: 52). 16. A scene in Shrek the Third (Chris Miller and Raman Hui, 2007) exemplifies their point when a group of ‘Disney’ princesses are held captive and simply ‘assume the position’ (striking winning poses as they wait to be saved) while Fiona, despite being an ogress, is equally passive. Although her mother head- butts the way out of their cell in an amusing deviation from expectation, Bacchilega and Reider claim this joke is at the expense of feminists. Only in 176 Notes to Chapter 1

the final instalment, Shrek Forever After (Mike Mitchell, 2010), is Fiona given an alternative role to being Shrek’s wife, although the embittered warrior version, railing against ‘true love’ as a lie that failed to save her, scarcely seems preferable – requiring a Disneyesque denouement to put everything right. Although I believe Bacchilega and Reider neglect any positive elements in the Shrek films, this highlights a key problem with postmodern parodies, as is discussed further in Chapter 6. 17. At the time of the sequel’s release, producer and star Sandra Bullock affirmed a desire to confront the conventions for women in comedy, stating, ‘Why does the girl have to end up with the guy? Why can’t it be a buddy film?’ The fact that it bombed is perhaps sufficient answer. 18. There is also a more negative reading of this casting choice, affirming heroines to be male-identified. Having lost her mother, young Cinderella has only a male parental influence and it is curious that this is echoed in a number of films, effacing the mother completely. While some critics have objected to the fact that Perrault exchanged the dead mother’s spirit with a fairy godmother in his version ‘Cendrillon’ (1697), thereby removing the daughter from a powerful maternal presence to watch over her, cinematically casting the godmother as male might be read as an even greater removal from a female mentor. 19. An early tale that bears some kinship with both ‘Cinderella’ and the animal groom tale is of course ‘Cupid and Psyche’ (ATU 425A), part of Apuleius’ book The Golden Ass. As John Gilbert summarises, ‘this long tale has all the elements of myth and fairy tale – a king with three daughters, two of them wicked; an unseen lover, rumoured to be bestial and in this case of divine, not merely noble, birth; a sequence of apparently impossible tasks ... and a journey to the underworld’ (1970: 138). Like ‘Cinderella’, sibling rivalry almost curtails an unfolding romance and like ‘Beauty and the Beast’ an arranged marriage is shown to be both perilous and pleasurable – the bride realising her true feelings only when she loses her partner, literally going to hell and back to prove herself! The fact that Venus plays the wicked stepmother, envi- ous of her rival, yet with a touch of Baba Yaga in administering Psyche’s ‘test’, further adds to the mythic richness and significance of the tale. 20. Tatar (1992) reminds us that many such tales have violent denouements, with beast-grooms requesting to be beheaded or skinned, testing the heroine’s devotion and maturity as she is physically forced into close contact with the beast (and required to perform a task considered repellent). As Warner (1995) notes, the beastly female in Mme d’Aulnoy’s ‘White Cat’ similarly asks to be beheaded as a final test of love. 21. Marriage to a beast who is beyond romantic redemption provides the flipside to this scenario, with its antithesis ‘Bluebeard’ (ATU 312) further discussed in Chapter 5. 22. Warner argues that this moderating stance towards marriage is atypical of the ‘critical and challenged rebelliousness of the first generation of women fairy tale writers’ (1995: 294). For further discussion of the conteuses, and the criticism they have had, particularly in relation to marriage, see Harries (2001) and Seifert (2004). 23. Giambattista Basile’s tale ‘Sun, Moon and Talia’, collected in The Pentamerone, has an even older forebear in the fourteenth-century romance ‘Perceforest’ (author unknown). ‘Perceforest’ differs from Basile’s version in terms of the sleeping princess not being violated by a stranger, but a man she fell in Notes to Chapter 2 177

love with before being enchanted. Troylus is urged by Venus to give in to his desire and has intercourse with Zellandine, and she subsequently gives birth to a child that awakens her when it sucks the poisoned flax from her finger. Venus’ temptation is reminiscent of the blame placed on the devil in ‘The Maiden without Hands’, a tale that similarly side-steps sexual abuse and emphasises motherhood as a form of rebirth and renewal. In both early examples of ‘Sleeping Beauty’ the incumbent heroines bear no grudge towards their attackers, and blame is diverted towards threatening females, just as Perrault’s version casts a vengeful fairy as antagonist and romanticises the conduct of the ‘prince’, substituting rape with a chaste kiss. 24. Lady Snowblood (Toshiya Fujita, 1973) has been cited by Tarantino as a primary influence on Kill Bill – a story of a young woman whose life is dedicated to seeking vengeance for her lost family. 25. Brünnhilde – according to Norse legend – was a wilful Valkyre who displeased Odin and was punished by being placed in an enchanted sleep. A ring of flames substitutes for Perrault’s deadly thorns in protecting her from being violated. Although the hero, Siegfried, manages to gain access and awakens her – removing her armour in some versions, in others, with a kiss – he does not succumb to ‘passion’, laying his sword between them when they sleep. However, in contrast to the other ‘Sleeping Beauty’ tales cited, their relationship ends in tragedy, the heroine’s love for a man who forgets and betrays her marking her downfall. 26. Madonna Kolbenschlag, author of Kiss Sleeping Beauty Good-bye (1981), has provided one of the most inventive ways of trying to redeem this figure by reconsidering her potential meaning. Arguing that it is time for what con- stitutes masculine and feminine roles to be re-evaluated, she affirms that women can play the part of the prince in the tale, and wake themselves to consciousness. 27. An interesting contrast is seventies curio Some Call it Loving ( James B. Harris, 1973). A young woman, asleep for eight years and exhibited as a ‘sleeping beauty’ in a travelling carnival, is bought by a wealthy yet lonely man, who learns that her ‘coma’ is contrived through medication. As she awakes she recalls being abused and becomes increasingly unhappy, finally asking to return to her endless sleep. Contradicting the romantic revamp the Grimms gave the tale, Jennifer is not saved, and not what her ‘prince’ expected. Leigh’s film focuses so much on the abuse experienced by the (mostly naked) protagonist that it comes close to prurience at the expense of its intended message. 28. Kenneth Branagh’s plans for Cinderella (due for release in 2015) were quickly picked up by the media, seizing on an ‘independent’ Cinderella as an apparently novel idea. See, for example: www.gazettenews.co.uk/uk_national_ entertainment/10963493.Branagh_My_Cinderella_independent/ (posted 25 January 2014).

2 Curses, Wishes and Amazing Transformations: Male Maturation Tales

1. Tatar further notes that male characters are distinguished by naïveté – whether it be silly, foolish, simple or unworldly – arguing that ‘if the female protagonists of fairy tales are often as good as they are beautiful, their male 178 Notes to Chapter 2

counterparts generally appear to be as young and naïve as they are stupid’ (2003: 87). 2. Tatar adds the important caveat that compassion is rarely extended to fellow humans, particularly siblings, but shown to animals or unfortunate beings who later repay the debt by helping the hero win a princess (1992: 42). In the films assessed in this chapter, by contrast, they need to express these qualities directly to their partners. 3. Examples offered from the Grimm Tales are ‘The Golden Bird’, ‘The Queen Bee’, ‘The Three Feathers’, ‘The Golden Goose’ and ‘The Water of Life’, in which youngest sons overcome limited expectations, leading Heilbrun to claim their situation is ‘a paradigm of female experience in the male power structure that no woman with aspirations above that of a sleeping princess will fail to recognise’ (qtd in Haase (2004: 6). 4. In narratives like ‘East of the Sun and West o’ the Moon’ and other descend- ants of the ‘Cupid and Psyche’ story a woman is responsible for re-humanising an enchanted man. Devoted sisters in ‘The Twelve Brothers’ and ‘The Six Swans’ similarly risk everything for this task. The men are usually blameless, subject to a cruel curse and rely on female intervention to put things right. The heroine’s trial may range from a single night with a despised creature (as occurs in ‘The Frog King’), journeying to the ends of the earth, or years of silent suffering. The women assume the key narrative role and must perform necessary duties to redeem their men, whether it be putting their lives on hold or adjusting their expectations (like the heroine of ‘Beauty and the Beast’). 5. In ‘The Uses of Enchantment’ (1993a) Warner notes how the tale’s meaning is open to interpretation, citing its use under fascism ‘to steel the Hitler Youth in classroom propaganda’, while also acknowledging its original intent as a simpleton tale, simply designed to amuse. In From the Beast to the Blonde (1995b) she uses it as a parallel for the motives governing female tale-tellers – as a means of confronting fears. 6. Although Warner adds, in a later article, that ‘she’s not portrayed as particularly old, however, just an older woman’ (2009), the fact she is also his godmother, who has been raising him as her son, adds another dimension to his rejection, demonstrating how Villeneuve’s version of the tale is not only much less romantic than Madame de Beaumont’s, but akin to the other conteuses in portraying the fairy godmother in a sinister light. 7. In the film’s repudiation of Gaston, Warner describes the Beast as the preferred exemplar of masculinity, ‘a wild man in touch with nature’, and alludes to Robert Bly’s call for men to find their ‘warrior within’ (Warner 1995: 317–18). The allusion is misplaced, however; the Beast ultimately exemplifies Bly’s derided ‘soft man’, and his transformation by a woman is a phenomenon Bly especially deplores. 8. A rare role reversal is found in Penelope (Mark Palansky, 2006). A rich family is cursed by a witch for a tragic slight against her daughter that occurred generations previously. As a result, the first girl born to them is cursed with a pig-nose and ears, which plastic surgery is unable to fix, a plight that will only to be altered when she gains the love of ‘one of her own’. This is assumed to mean marrying someone wealthy, yet the twist in the tale is that Penelope (Christina Ricci) breaks the curse herself the moment she genuinely starts to like herself, which entails leaving home – and her superficial Notes to Chapter 2 179

parents – and acquiring a sense of acceptance. At the end of the film an apparent scoundrel, Johnny (James McCavoy), turns out to have a heart, similarly having been judged too much by appearances, and he declares his feelings without being aware the curse has been lifted – although the gesture is somewhat undermined by the fact that Penelope’s nose was hardly monstrous and her nature is achingly sweet. Both Beastly and Penelope affirm the upside of curses as a means of finding true love. They also suggest that the rich are not necessarily any happier than the rest of us, with affluence seemingly its own curse. Only when they leave their respective ‘castles’ do the protagonists learn to connect with others – and notably choose poor love interests who are more in touch with their emotions than their privileged yet emotionally aloof parents. As examples made for an adolescent market, fairy tale tropes are interestingly reworked to provide love stories that extol the virtues of compassion, humility and looking beyond appearances, adding a dose of liberalism for additional sugar-coating. 9. A mother–daughter variation of the parent/child body-swap is Freaky Friday (1976), which also unites the protagonists through their ordeal, while Big (1988) and 13 Going on 30 (2004) rework the body-swap scenario from the perspective of a child propelled forward in time, who is similarly forced to realise that childhood is to be cherished, rather than resented, particularly given the foibles of adult relationships. 17 Again (2009) reverses the fantasy as a disgruntled middle-aged man gets the chance to relive his youth and realises his commitment to his family. 10. The theme is extended, without supernatural intervention, in films such as Big Daddy (1999), Knocked Up (2007) and Role Models (2008), in which male slackers are transformed by parental responsibility. 11. Although an early draft of the screenplay makes a spurned lover (and apparent witch) the catalyst for Phil’s curse, wanting him to pay for his curt treatment of her, the film leaves us without any specific cause. 12. A later film starring Black, Gulliver’s Travels (2010), is another contribution to the ‘slacker gains responsibility’ sub-cycle, the magical device in this case being a Bermuda Triangle-style phenomenon that transports the hero to Lilliput. Again, the message is that true love will happen once a sense of commitment to others is shown, literally helping the ‘little people’ in this case. Although some critics deplored the lack of Swiftian satire in the film, the fact the hero is romantically rewritten stands in pleasant contrast to the misogyny displayed by the original novel’s hero, who returns from his travels so repulsed by his wife’s smell he prefers to sleep in the stables! 13. The fact that Mike seeks to address his daughter’s self-image and attitude to boys (claiming this is the specific responsibility of fathers and not mothers) is particularly notable, clearly having grown up in a generation where gender expectations were altering, although the film also affirms how easily retrench- ment occurs. While the mother is alive in this case, Lesley Mann performs her usual role as a goofy mother, somewhat frustrated with her lot, seeking to establish a separate identity – offering another interesting role reversal. 14. Carlo Collodi’s Pinocchio was initially serialised in a newspaper and later published as a book in 1883 due to its immense popularity. The story has an obvious mythic quality in terms of the rite of passage undertaken by the protagonist. A wooden puppet is carved from a log, mysteriously imbued with a 180 Notes to Chapter 2

spark of life, and wishes to become a real boy. Initially making his adoptive father’s life difficult through continual misbehaviour (running away, acting without consideration, led astray by others and doing as he pleases), he eventually matures as he discovers a sense of responsibility and conscience, and ultimately has his wish granted. 15. Peter Pan first appeared in J.M. Barrie’s novel The Little Bird (1902) and his adventures were reissued as Peter Pan in Kensington Gardens (1906). In 1904, Barrie produced a play in which ‘the boy who wouldn’t grow up’ takes the Darling children to Never Land. The play was such a success Barrie rewrote it in book form, published as Peter and Wendy (1911). The book was revised and shortened in 1915, with variations remaining in print ever since. While little is revealed about his past, we are informed that Peter left home and was not able to return, subsequently finding company in the form of Lost Boys – who fell out of their prams as infants and have since gone to live with Peter in Never Land. His reason for wanting Wendy is claimed to be for the boys’ benefit, rather than his, but although they act as figurative parents she eventually tires of mothering everyone and grows weary of Peter’s failure to reciprocate her love. Much speculation has been attributed to the meaning of the character and his reluctance to grow up, with many biographical features awarded significance by critics. The most salient and undisputable of these is that Barrie modelled Peter on his own brother, who died tragically young. This lends a somewhat morbid factor behind Peter Pan’s failure to mature: the idea that he is himself dead, believed by some, as is referenced in the book, to accompany the spirits of dead children to heaven. He is thus not simply a mischievous sprite, or even a ‘boy’ who refuses to acknowledge the adult world, but a typically Victorian attempt to imbue the spirit world with sentiment, with Never Land a child’s version of paradise. For more on Peter Pan’s associations with the dead see Purkiss (2000). 16. While Spielberg has tended to romanticise Peter Pan (conspicuously referenced in ET and Hook), and P.J. Hogan’s 2003 film is a thwarted love story, he acquires more sinister meaning in recent appearances, depicted as a child- snatcher in the TV series Once Upon a Time and upcoming film Hooked. 17. In interview Burton has commented on the links between Edward Scissor- hands and ‘Beauty and the Beast’, collaborating with Caroline Thompson on the theme (2006: 84–99). 18. There are parallels to be drawn here with RoboCop’s Alex Murphy, who is taunted about his inability to offer his former wife ‘a man’s love’, and we might note Edward Scissorhands’ appearance among a range of cyborg films in the late 1980s and 1990s that similarly question masculinity itself. See my book, Cyborg Cinema (Short, 2011a), for further discussion of this theme, eval- uating the male cyborg in film as an example of ‘reconstructed masculinity’. 19. See Johns (2004), who explores Baby Yaga’s intense ambivalence, noting that depictions of the character range from a monstrous figure, accused of stealing the souls of dead unbaptised children, to a protective mother, with links to Persephone. This contrariness is interestingly depicted in the animated film Spirited Away (2000) in the form not only of Yu Baba (whose fearsome appearance is offset by the devotion with which she coddles her overgrown baby) but of her more amiable twin sister, who insists on being called ‘granny’ and helps the heroine return home. Notes to Chapter 3 181

3 Wealth through Stealth: Evening the Odds, or Flirting with Disaster?

1. Ruth Bottigheimer summarises the most common wish-fulfilment fantasies evident in the Grimm Tales as ‘sudden riches, an advantageous marriage for an impoverished heroine or hero, or unlimited food’ (1987: 9). 2. Tatar provides another salient reason for the seemingly arbitrary distribution of good fortune in fairy tales, and their equally uneven approach to moral conduct, asserting that because tales frequently invert one another this leads to resulting contrariness in what is approved and reproved. As she concludes, ‘the fairy tale, in sum, knows no stable middle ground. Inversion of character traits, violation of narrative norms, and reversal of initial conditions are just a few ways in which it overturns notions of immutability and creates a fictional world in which the one constant value is change’ (2003: 102). 3. In ‘The Golden Goose’, ‘How Six Made their Way in the World’ and ‘The Devil’s Three Golden Hairs’ a duplicitous king defies a lowly hero’s attempt to win his daughter’s hand, setting a series of seemingly impossible tasks. 4. Zipes especially commends tales celebrating collective enterprise. ‘The Musicians of Bremen’ features outcast animals working together to secure a home, while ‘How Six Made their Way in the World’ unites a group of men to outwit a king, a tale Zipes observes is comparable to The X-Men as figures with extraordinary skills such as strength and superhuman vision combine to defeat a tyrant. Whether it be inadvertently scaring robbers to set up residence in their home, or an unlikely union forged to win a wager, combined efforts, and a degree of stealth, help disenfranchised figures get ahead. 5. Disney’s film version enhances Aladdin’s character considerably, eventually setting the genie free. Limiting him to three wishes means he cannot exploit the genie indefinitely, yet the gesture is also intended to affirm his good nature, just as being forced to woo his princess – rather than winning her through magical feats – redeems the roguish elements some have associated him with. 6. Sibling rivalry is often exacerbated by material success, resulting in murderous deceit, found in tales from various cultures, and between siblings of either gender. Sisterly enmity in ‘The Porter and the Ladies’ and ‘The Jealous Sisters’ has corresponding tales about treacherous brothers in the Arabian Nights, while the Grimm Tales include stories of sisters killed through envy (eventually gaining revenge as spirits) as well as fraternal counterparts like ‘The Singing Bone’, in which a callow youth slays his brother to prosper from his achievement yet is also undone when the discovered remains tell their story. 7. Zipes elaborates the context for this theme, describing the misery faced by common soldiers, forcibly conscripted to serve, treated poorly, and discharged with little pay, as well as noting the Grimms’ anti-monarchist sentiments as each having a bearing on the kind of stories and sympathies favoured. See Zipes (2002b: 82). 8. Godwin’s apparent intent was a politically motivated rewrite of a traditional folk tale and it is interesting to note socialist leanings in a version told a century later by Amabel Williams-Ellis, suggesting that the father was punished for being altruistic. As the woman selling the life-changing beans informs 182 Notes to Chapter 3

Jack, his father was ‘a good man and had shared his money with those who had nothing’, conduct that sufficiently enraged the giant to kill and steal from him, and stirring his son, a notorious idler, into action (1976a: 160). 9. The Arabian Nights presents a number of females serving as crucial assets for male heroes, such as the fairy Peri Banou, and a sorceress who gives her life battling a merciless jinni. The fact that Morgiana has no such powers yet is willing to perform mass homicide to defend her master’s household affirms her as an exceptional heroine, and it is consequently perplexing that her name does not appear in the title. Interestingly, Marina Warner reveals that Hanna Diab originally named the tale ‘The Stratagems of Morgiana, Or the Forty Thieves Exterminated by the Skill of a Slave’ (2012: 360), yet the printed version by Antoine Galland unfairly cedes heroic recognition to her master. Although Warner has questioned whether the tale was genuinely archived from the Orient, she nonetheless references Morgiana in citing ‘clever and courageous slave girls’ among her litany of positive female characters advanced by Scheherazade to persuade her husband of women’s worth as trustworthy allies (2012: 4, 16). 10. Some other notable female swindlers in film include the eponymous heroine in Jackie Brown (Quentin Tarantino, 1997), a middle-aged black woman – and single mother – who manages to outwit a group of male cons and gets away with the entire haul, while Lateesha Rodriguez (Mo’Nique) is equally memo- rable in Domino (Tony Scott, 2005), performing a robbery – with female cronies – to pay for her grandchild’s operation, with the remainder sent to needy children in Afghanistan! 11. Bottigheimer contends that, as a rule, greed is generally punished in the Grimm Tales and women are seen as a threat to wealth, citing ‘The Fisherman and his Wife’ as an example where the wife’s escalating arrogance squanders the couple’s good fortune (1987: 129). It is possible to see Sarah as a similar figure of blame, with every piece of advice given to her husband backfiring. Many female characters pay for greed in some way, yet there are no hard and fast rules in crime dramas. Sometimes stealthy women get away with crimes, while a modest and virtuous wife like Carla Jean, who wants no part in her husband’s acquired money, still pays a tragic price. 12. Another link between both films, which adds some fairy tale resonances, is the fact that chasing an animal leads both groups to their unlucky finds. Hank and his cohorts veer off into the woods pursuing a fox that crosses their path (an icon of stealth that backfires for the group), while Llewellyn, seeking to make some extra money hunting, follows a wounded pronghorn to the scene of a drug deal gone awry (emulating a familiar Grimm trope in which the pursuit of a deer is often the catalyst for misfortune). What both men learn, sadly far too late, is that they were better off as they were, the animals that lead them to tainted treasure evidently leading them astray. 13. The title ‘Three Kings’ may also refer to the Grimm tale, ‘The Water of Life’, in which the virtuous hero saves three kings by sharing his fortune with them, and is, in turn, redeemed by their gratitude. 14. Generically labelled ‘political thrillers’, we are taken on an extraordinary adventure where a message strives to be heard, a quest for wealth replaced by loftier goals for heroes aiming to redistribute money where it ‘rightfully’ belongs. Interestingly, these are American films that criticise US involvement Notes to Chapter 4 183

in overseas conflicts, yet in which a happy ending necessitates the few select beneficiaries becoming exiles from their own countries. Money gets the chosen few out of a desperate situation, without any more democratic solutions offered. A caustic variant is offered by Buried (Rodrigo Cortés, 2010), rewrit- ing Poe’s ‘Premature Burial’ in a cold geopolitical light. A hapless American truck-driver wakes to find himself in a coffin, buried somewhere in the Iraqi desert, with a torch, a knife and a mobile phone. His kidnappers demand that he negotiate ransom money for his release, yet it is his US employers, ultimately, who are cast in a much dimmer light, cannily deciding to termi- nate his contract to avoid an insurance pay-out to his family. Stealth, greed and ruthlessness, we are reminded, are intrinsic to survival and prosperity, and human life relatively worthless. 15. Examples of female craftiness in the Grimm Tales include a wily servant in ‘Clever Gretel’ who gets a free chicken dinner by lying through her teeth, while in ‘The Three Spinners’ (ATU 501) an idle gluttonous girl achieves a royal marriage, freed from ever having to spin again, solicited through her mother’s boast. The wish-fulfilment fantasy of not having to work is generally couched in domestic terms – making a good marriage in which the woman is allowed some sovereignty – sometimes deceiving her husband to evade work (as occurs in ‘The Lazy Spinner’ (ATU 1405)), or even getting away with an affair, if she is crafty enough (see the tale type entitled ‘Trickster Wives and Maids’ (ATU 1741)). In other examples, wiliness is used as a form of protection, to avenge a rape, as occurs in ‘Maid Maleen’, or to get out of an unhappy marriage, like the girl in ‘The Hare Bride’, abducted and abused by her beastly husband, who steals away one day and returns to her family.

4 Dangerous Liaisons: Demon Lovers and Defiant Damsels

1. Women who defy serial killers appear in various narratives throughout history, serving as a popular theme in the medieval ballad. In ‘Lady Isabel and the Elf-Knight’ the heroine takes advantage of her attacker’s post-coital slumber to kill him with his own dagger in an arresting depiction of female stealth (Purkiss, 2000: 73–4). A number of fairy tales similarly champion females who resist unwelcome suitors, including those written by female contemporaries of Perrault. In ‘The Subtle Princess’, written by his cousin, Marie-Jeanne L’Heritier (in advance of ‘Bluebeard’), the heroine kills the man responsible for shaming her sisters and threatening her life, although the message is somewhat undermined by her attraction to his brother, forgiving him for also seeking to kill her (in a pledge to his dying sibling!). Given her contrasting antipathy towards her sisters, whom she sends to the workhouse after their disgrace, one could argue that ‘Bluebeard’ is far more progressive in endorsing female solidarity. 2. Georges Melies’ charming cinematic version of ‘Bluebeard’ adds this magical revival to the finale, with all the murdered brides revived and happily paired off at the end! 3. In the famous frame tale to the Arabian Nights, Scheherazade delays her exe- cution and assuages her husband’s murderous distrust of women over three 184 Notes to Chapter 4

years of storytelling, yet as Marina Warner notes, one of her tales includes an alternative version of the frame tale, in which the heroine, Bilqis, takes on another virgin-killing king and murders him. A jinniya, with supernatural powers, she provides an interesting contrast to the romantic redemption offered in the collection’s frame tale, and serves as a precursor to the many female avenger figures that similarly challenge male violence (2012: 5). 4. In Daphne du Maurier’s Rebecca (1938), intimations of the first Mrs de Winter’s sexual deviancy are seemingly just cause for her husband’s enmity, and subsequent distrust of women, her dominance over him such that even her memory consumes him. The theme is echoed by Charlotte Brontë’s Jane Eyre (1847) in which the first Mrs Rochester is similarly blamed for unfairly chaining her husband to a lunatic and thus denying his freedom – although it is she who is truly confined by him. Perhaps the most perplexing aspect of both stories is that they were written by women yet situate ‘virtuous’ female characters in opposition to unsympathetically presented rivals. For further discussion of this theme, and the influence of fairy tales such as ‘Snow White’, see Gilbert and Gubar (2000). 5. Although Clover contends that the Final Girl is intended as a primary means of male identification (thereby explaining her often androgynous name and lack of sexual conduct), this is a claim that I contest, affirming this character as a powerful source of female identification and a vital means of stating progressive claims for these films. For further elaboration on this point see Short (2006: ch. 1). 6. A variation in horror that draws upon ‘Bluebeard’ is Skeleton Key (Iain Softley, 2005), in which a brother and sister serve as the villains, using voodoo to possess people’s bodies and thus prolong their life. The forbidden chamber, in this case, is the attic of their New Orleans home where the bodies are kept, and the female investigator is a carer, hired by the couple, who succumbs to the same fate. Another interesting twist on the tale is achieved in Hellraiser (Clive Barker, 1987), with the wicked stepmother par excellence, Julia (Clare Higgins), succumbing to sexual curiosity with her husband’s brother soon after her marriage and providing him with several male victims when they resume their affair after his resurrection: a demon lover in this case being an explicit turn-on for the kinky bride. The sequel, Hellbound (Tony Randel, 1988), reverses the situation when Julia is returned from hell and re-fleshed with the blood of various female victims, a room full of hanging female corpses explicitly referencing ‘Bluebeard’. 7. Noting the film’s many allusions to ‘Bluebeard’, Tatar affirms a significant reversal in the plot, arguing that ‘in The Piano, it is Ada who carries the bur- den of a troubled past and who possesses a dark secret’ (2006: 123). Although Campion leaves this secret a mystery in the film, her novel discloses further information about the heroine’s background: informing us that she elected to stop speaking after her father reprimanded her as a child, and significantly revealing that the piano once belonged to her mother. 8. Interestingly, Campion has since voiced regret about the film’s ending, particularly Ada’s survival and new life with Baines. As she states two decades after The Piano’s release: ‘I thought some of it was really good, but I thought [of the ending, in which Ada is tied to her sinking piano, but then kicks free and surfaces], “for freaking hell’s sake, she should have stayed under there.” Notes to Chapter 4 185

It would be more real, wouldn’t it, it would be better? I didn’t have the nerve at the time. What if Ada just went down, she went down with her piano, that’s it’ (Campion, 2013). It is hard to say how the film would have altered with this imagined director’s cut, yet the insight suggests an implicit melan- cholia (or wilfulness) in Ada which even a new life with as unconventional a lover as Baines cannot alleviate. Gothic romances are often criticised for shoring up romantic inclinations, even when a critique has been mounted against patriarchy, and The Piano might be seen in this light, with perhaps too great a transformation afforded to its protagonist through the power of love. If the piano functioned as Ada’s primary love object (and preferred means of communication), its loss suggests that she is ready to exist without it, even breaking her vow of silence and learning to speak again, which can be read as a conciliation of sorts, yet her desire to join the piano at the bot- tom of the ocean (confessed in voice-over at the end of the film) suggests there are no pat endings here. Campion would revisit the motif of death through drowning in her 2013 TV series, Top of the Lake, which opens with a young pregnant girl wading into the water in a bid to end her life. 9. Such criticism was similarly levied at Angela Carter in response to The Bloody Chamber, with critics contending that masochistic or submissive impulses in female sexuality are politically regressive and therefore have no place in women’s writing. (For further discussion of such criticism see Bacchilega (1997)). The counter-argument is that while women continue to experience such impulses they have every place in our creative world, with the accompanying understanding that expressing potentially disturbing ideas does not necessarily condone them. Indeed, it seems scarcely coinci- dental that Moore made Frannie a mature English professor with an interest in Virginia Woolf, who initially describes words as her ‘passion’. Seemingly confident and assured in her profession, her composure soon unravels when she becomes involved with a man. From the tarty outfit worn on her first date with Malloy, trading her usual flats for heels, to the mixed signals she gives to the various men in her life, Frannie’s tale is designed to provoke questions about ‘right’ and ‘wrong’ behaviour. Campion inserts a number of fairy tale references (beyond the ‘Bluebeard’ motif of a killer the heroine must thwart) to extend this form of questioning, including the nearly lost shoe (re)placed on Frannie’s foot by various male figures, the romanticised story of how her parents met while ice-skating (shot in a deliberately dated film style) and the engagement ring, presented on the killer’s blade, sig- nalling a fatal betrothal – all of which are designed as a form of romantic disenchantment. Ironically, while her first fantasy about Malloy is based on sexual subservience, and she subsequently follows wherever he leads, without any apparent instinct at self-preservation, Frannie crucially learns to defend herself through him. 10. We might recall that ‘Le Barbe Bleu’ was said to be influenced by two French noblemen, Cunmar of Brittany (who murdered a succession of pregnant wives) and Gilles de Rais (who killed hundreds of children), although the veracity of these crimes is uncertain. As Marina Warner attests, Gilles de Rais was a companion at arms to Joan of Arc while ‘Cunmar the Accursed’ deposed the legitimate king of Brittany, factors suggesting their villainy may have been exercises in propaganda (1995: 260–1). 186 Notes to Chapter 4

11. Campion returns to this theme of male violence in her series Top of the Lake, in which a female detective uncovers not only an incestuous father but a corrupt police chief involved in sexually exploiting young women – and guilty of murdering at least one victim. Both men use the sedative Ruphinol to immobilise their victims, and evidently assume they can get away with their crimes, yet the tables are turned by the end of the series. Placing a gun in the hands of both the incest victim and the detective (a former victim of violent sexual assault subsequently threatened by her duplicitous boss), the weapon is used against both these men. 12. Clover makes the same claims about impotence in reference to the slasher’s various male killers, who are deemed childlike, sexually repressed, and either mentally or physically incapable of intimacy with women, leading to the rage we witness on screen. 13. Warner provides other interesting attempts to account for the mystery of the first wife’s ‘crime’, including the idea that she was a ‘bluestocking’, angered by her husband’s drunkenness on their wedding night, who dyed his beard blue in revenge! (1995: 247). 14. I discuss this film in more detail in the fifth chapter of Misﬁ t Sisters (Short, 2006) in which it is argued that Starling’s gender and age grant her a privileged ‘female gaze’, inflecting her ability to decipher the clues in Frederika’s bedroom. 15. J. Hoberman (1991) retitles the film ‘Nancy Drew meets the Minotaur’, contrasting the mythic beast-man with the film’s monstrous villain. 16. Jagged Edge makes an interesting contrast to Fatal Attraction (Adrian Lyne, 1987) which casts Glenn Close as a dangerous villain, despatched by the good wife. A particularly nasty example of a backlash film, the modern Gothic, in this case, does not blame the duplicitous husband for endangering his family with an affair and it is the single career woman who is unremit- tingly demonised instead. 17. As Larsson fans will know, Men Who Hate Women was his original title for the first Millennium book, a title that makes his gender politics clear. 18. The idea of a serial killer used satirically is prefigured in Chaplin’s Monsieur Verdu (1947). Based on the real-life French killer Henri Landru, who killed at least 12 women for their money, the character is transformed by Chaplin’s film into a black comedy. If the context of losing his bank job due to the Depression and having to care for an invalid wife and son are intended to create sympathy for the character, a culture of greed motivates American Psycho’s yuppie killer, with female victims, in both cases, paying the fatal price. We might also note a disturbing penchant for romanticising killers in teen series such as The Vampire Diaries, in which the heroine’s attraction to murderous men is championed rather than critiqued. 19. This brilliant punch-line concludes Thurber’s 1936 version of ‘Little Red Riding Hood’, titled, ‘The Girl and the Wolf’, in which our heroine saves herself by taking an automatic out of her basket. See Zipes (1993: 229). Roald Dahl pays Thurber suitable homage in his version:

The small girl smiles. One eyelid flickers. She whips a pistol from her knickers. She aims it at the creature’s head And bang bang bang she shoots him dead. (1992: 40) Notes to Chapter 5 187

20. In the Iroquois tale ‘The Horned Snake’s Wife’, the heroine escapes with help from a spirit god and acquires special powers, ridding the world of ‘bad-hearted creatures’ (Matthews, 2000: 55). In the West African tale ‘Keep your Secrets’, collected by Angela Carter, the heroine is saved by heeding her mother’s advice and not trusting her new husband unduly. Offering a lovely retort to ‘Bluebeard’, female duplicity is thus understood to be an essential survival strategy (2012: 68–9).

5 Houses of Horror: Domestic Dangers and Man-made Monsters

1. Bruno Bettelheim’s The Uses of Enchantment: The Meaning and Importance of Fairy Tales (1977) is a pioneering work in this regard, drawing attention to the usefulness of fairy tales in aiding a child’s emotional development, enabling them to ‘master the psychological problems of growing up’ (6) while additionally helping traumatised children to realise their experiences are neither unique nor insurmountable. Although often criticised for displaying too great a debt to Freudian psychoanalysis, Bettelheim references some interesting interpretations of classic fairy tales by his patients, including admiration for Rapunzel and Gretel as heroic female figures who survive abusive experiences. Others have continued to draw upon the fairy tale’s therapeutic potential, including Alison Lurie’s work on incest survival in fiction and experience. 2. Dundes makes this claim of ‘The Girl without Hands’, asserting that as she is ‘guilty of the original incestuous thought’ she is punished accordingly (1987: 61). For an eloquent refutation of the idea that abused girls are really to blame for their father’s incestuous desires, and the flawed logic of trans- posing Freud by situating the cause of incest with its apparent victims, see Tatar (1992: 125–6). In the same book Tatar makes similarly short shrift of the narrative tendency (in tales such as ‘Catskin’ and ‘Donkeyskin’) to blame dead mothers for inciting incestuous desires in their husbands, asking them to choose a replacement modelled only in their image and thus making their daughters a victim of their mother’s vanity rather than their father’s monstrous desire. An interesting summary of the various interpretations made of the ‘unnatural father’ theme, and accompanying problems with the psychoanalytic school, can be found in Jeanna Jorgensen’s online article (2012). 3. As Wood contends, ‘the connection of the Family to Horror has become over- whelmingly consistent’, noting that the genre’s various monsters, including psychotic killers, demonic entities, monstrous children and cannibals, are ‘all shown as products of the family’, suggesting that this very institution demands reassessment (1984: 181, 187). 4. See Williams (1996), in which he claims that even in a conservative climate the family remains a problematic institution whose legitimacy is questioned in horror. Chika Kinoshita aligns Wood’s theory with contemporary Japanese horror (2009: 107). 5. See Clover (1992) for further discussion of this theme. Although she discusses films such as Deliverance (John Boorman, 1972) and I Spit on your Grave (Meir Zarchi, 1978) as examples of a redneck menace in the wilderness, the idea has continued with films like Wrong Turn, a rare contemporary example that 188 Notes to Chapter 5

shows Clover’s Final Girl to be alive and well, even in an age of greater nihil- ism. Other narratives, such as Rob Zombie’s House of 1000 Corpses (2003) and its sequel The Devil’s Rejects (2005), offer a murderous redneck family in preference to their ‘normal’ victims, reiterating horror’s age-old interest in subverting our understanding of monstrosity. The UK’s cycle of ‘hoodie- horrors’ might be seen as an Anglicised variant of the same anxieties about a feral underclass, moving a threat formerly associated with rural areas into urban locations. 6. Campbell outlines the key mythic stages of this journey – departure, initia- tion and return – in his famous work The Hero with a Thousand Faces. Equating heroic tales with ceremonial rituals of adulthood, he further notes ‘exercises of severance’ in which the subject must undertake a ‘radical readjustment of his emotional relationship to parental images’, an idea that evokes psycho- logically leaving ‘home’ (1993: 136). 7. Driven by lust for her husband’s bad-boy brother, Frank, Julia updates the role of a succuba, procuring male victims to reconstitute her dead lover. Kirsty plays the virtuous Snow White to Julia’s wicked stepmother, yet, although she triumphs, Christopher Sharrett has a point in regarding the film’s main purpose as a punishment of female sexuality, affirming that ‘the neoconservative depiction of Pandora/Eve has Kirsty both unleashing the Cenobites and mastering the underworld (she escapes the temptations of “desire”)’ – while her lusty counterpart proves the fatal dangers of succumbing to temptation (1996: 263). 8. For further discussion of these films as female coming-of-age tales, and their relationship to fairy tales, see Short (2006). 9. See David Carter’s online article (n.d.), which similarly regards fairy tales and horror as essentially prohibitive and conservative, although a specific moral coda is not always stringently adhered to – in either genre. 10. According to Barbara Creed’s The Monstrous-Feminine: Film, Feminism, Psychoanalysis (1993), heavily referencing Julia Kristeva, a further psychological reason dates back to antiquity, aligning the maternal body with abject Otherness. Although I agree with some of Creed’s observations, a tendency to reiterate essentialist ideas hinders her analysis, with little consideration of how monstrosity might be positively reclaimed. 11. As Tatar puts it, ‘most of the men who produced written versions of this tale implicate the wife in the father’s bid for his daughter’s hand. Fidelity to the wishes of a dying spouse thus comes to supplant incestuous desire as the motive for the father’s attempted seduction of his daughter’ (1992: 128). 12. The distinctive appearance of the spectral females in each film, and their role as vengeful spirits, has an interesting historical connection, as Brigid Cherry points out, stating precedents in traditional Japanese ghost stories, where such figures are similarly dressed in white with long straggly hair, echoing the funeral rites of the Edo period. In one of the most famous tales, ‘Yotsuya Kaidan’, a female protagonist called Oiwa is poisoned by a rival for her husband, leaving her with the drooping eye later seen on Sadako (2009: 196). 13. Robert Hyland claims that Asami’s monstrosity is imagined by Aoyama due to ‘guilt feelings derived from his own behaviour (as well as patriarchy’s abuses) which causes him to project his anxieties’, a reading that substanti- ates her abuse yet refuses to admit her sadistic ‘revenge’ (2009: 205). Notes to Chapter 5 189

14. As Diane Purkiss notes (2000), superstition was thus used to explain the tragedy of infant mortality as well as legitimating acts of abuse and abandonment. 15. An edited version of Orphan is often broadcast on television, omitting any details of Esther’s abusive upbringing, and thus offering the father a total reprieve. 16. Folk tales warning against the potential cost of grief often involve mordant humour, as in chain tales resulting in an ever increasing list of tragedies. Some Grimm examples are ‘Little Louse and Little Flea’ and ‘The Death of the Little Hen’, which warn against ‘undue’ grieving as various characters fail to pay adequate attention to the continued hazards of life. The lesson is repeated in contemporary cinematic horror that urges bereaved parents to remain vigilant for harm, and prioritise their surviving children. Orphan’s snowbound setting may additionally be significant, suggesting a possible reference to the Russian folk tale ‘The Snow Maiden’ – its title character proving insubstantial, just as ‘Esther’ is merely a persona. 17. Moving into her mother-in-law’s former home, Martha makes a change that might be viewed as significant, turning a holy picture in their bedroom to the wall. She may declare herself a modern woman by this gesture, unfettered by the superstition besetting the village women, yet trouble soon follows. 18. Purkiss (2000) is again instructive here, noting that, according to superstition, pregnancy was deemed to render a woman at risk of being ‘fairy taken’ and her newborn would not be considered safe until its baptism. She also points out that autism has popularly been used to explain the belief in changelings, with related behaviour often misread as possession. 19. The governess in The Innocents (Jack Clayton, 1961) offers another case of repression and suspected neurosis that culminates in infanticide, a film The Others clearly borrows from. 20. The name is a Middle English word, meaning both ‘good lady’ and ‘old woman’ or ‘hag’. It may also be a reference, in this context, to Keats’ poem ‘La Belle Dame sans Merci’ (1819) – in which a knight is lured to a wintry lake by a lady, lulled to sleep, and dies – just as Coraline will lose her life if she allows her dream mother to take over. Gaiman’s interest in maternal doubling and the ‘other mother’ is equally evident in MirrorMask – also made into a film. 21. In fact, the story derives from a popular Korean folk tale known as ‘Janghwa, Hongryeon’ (‘Rose Flower, Red Lotus’), which is similar to ‘Snow White’ in featuring a wicked stepmother. She resents her stepdaughters so much that she falsely claims one has had a miscarriage in order to shame her, instructs her son to drown her, and torments her sister to commit suicide at the same site. The truth is eventually uncovered and when the father remarries his wife gives birth to twin girls, presumed to be their reincarnated souls. 22. In a DVD interview the directors state that the Freudian subtext of the original film was a big draw for them, one they deliberately wanted to expand, although whether or not they intended to parody the daughter’s Electra obsession is not stated. 23. Marina Warner argues that Demy’s film offers a critique against the psychoanalytic theories usually applied to incest tales (1993a: 31), while David Butler commends ‘the camp aesthetic used to sugar its troubling themes but leave them present all the same’ (2009: 54). By contrast, Jack Zipes objects to the way it ‘mocks the notion of incest’ (2011: 219) – a reading I agree with. 190 Notes to Chapter 6

24. The mother-in-law’s accusation that her stepdaughter has given birth to a monstrous child might be an allusion to her incestuous background. Fears of genetic deformity may also be at the heart of tales featuring older mothers who beget ‘beastly’ offspring with surprise late pregnancies, children whose abnormality they must learn to accept. 25. The film shows how Precious survives a life of unimaginable degradation, her vivid imagination allowing her to transport herself to an imaginary future where she is respected, adored and happy. For the most part these scenes reflect the influence of a celebrity-obsessed pop culture. She dreams of a ‘light-skinned boyfriend’ who gazes at her adoringly as she poses for cameras. In the final scene, having taken possession of her two children and started a life of her own, with college in mind, she smiles for the first time, like her imagined self. 26. While critical scorn has been poured on these films, with Eden Lake accused of inspiring hatred against the working class, the UK riots of August 2011 would lend a hideous sense of reality to what seem like hyperbolic anxieties about unruly youth, raping and killing, as well as thieving, en masse, grant- ing the ‘hoodie-horror’ disturbing prescience because so little seems to be exaggerated. 27. Tatar considers The Shining a ‘Bluebeard’ film, perceiving Danny to be the equivalent of the curious wife, due to his interest in a ‘forbidden chamber’ (rm. 217) at the Overlook (2006). However, it his mother – Wendy – who is the main transgressor, galvanised by her husband’s threat to renege her wifely obedience. Although previously in denial about Jack’s abusive nature, it is only when confronted with an axe-wielding maniac that she is forced to jet- tison the ideal of a happy family, saving both her son and herself from their likely death at his hands. Charlene Brunnell notes the Overlook’s uncanny ability to bring out the worst in people, describing it as: ‘the vampiric villain, consuming with malicious glee people of questionable character’ (1984: 95).

6 Postmodern Revisions: New Tales for Old?

1. See Jackson (1981) for details of her dismissive view of fairy tales, which not only ignores revisions (both literary and cinematic) but suggests little familiarity with the genre, considering the fairy tale’s main impetus to be nostalgic and reassuring. Lucie Armitt draws attention to such shortcomings in her own study, Theorising the Fantastic (1996), which admits the mutabil- ity of fairy tales and their openness to revision and reinterpretation, as well as their ability to unsettle. Published a year before Bacchilega’s book, Armitt also asserts an interest in postmodernism. 2. According to Jack Zipes, Erich Kaiser coined the term ‘de-Grimmed’ to describe rewritten Grimm tales, although it might equally be used where any ‘classic’ fairy tale has been subject to revision (2002b: 245). 3. The term ‘distanciation’ is generally used to describe a theatrical Brechtian device used to ‘break the fourth wall’ and thus involve the audience, with the aim of making them more critical and politically conscious. Techniques were adopted by film-makers such as Godard (with similar aims), yet have since been utilised more for stylistic effect. Notes to Chapter 6 191

4. For further information about the conteuses, see Harries (2001) and Warner (1995). While Donald Haase, in his introduction to Fairy Tales and Feminism (2004), commends them for initiating a new mode of ‘feminist’ inquiry in their fairy tales, Lewis C. Seifert (in an essay published in the same collection) refutes feminist praise on the grounds that the majority of their texts concern themselves with heterosexual desire and conclude with marriages – failing to note the fact that many are unhappy! Copious references to his main rival, Patricia Hannon (1998), seem to unwittingly bolster her claims for the conteuses, noting how Marie Catherine D’Aulnoy’s female characters use shape-shifting to explore identities far removed from the domestic sphere. The predilection for mise-en-abyme – playful self-reflection in their tales – is further approved by Hannon as a way to repudiate convention and prompt listeners to reflect on their meaning – motifs that anticipate ‘postmodern’ traits in contemporary fairy tale films. (See Seifert, 2004.). 5. Zipes, conversely, applauds the Shrek films as a retort to Disney’s ideology, considering the first film especially ‘radical’ in making an ogre and ogress the heroes and thus rendering ‘Disney aesthetics concerning beauty and ugliness questionable’, affirming ‘the freakiness of Shrek is a delightful anticipation of a de-Disneyfied world’ (2011: 243, 244). 6. I disagree that romance is necessarily part of a ‘patriarchal project’, and would reiterate the point made in Chapter 1’s discussion of rom-coms, that we need to consider feminism’s positive impact on this genre in terms of characterisation and aspiration (as well as acknowledging the potential for parody to undermine regressive stereotypes and extend feminist ideas, rather than simply co-opting them). The majority of contributors to Fairy Tale Films make the same criticisms as Bacchilega and Reider, with romances – even comic romances – deemed ideologically suspect, while films in which female characters encounter tragedy, such as Pan’s Labyrinth, The Company of Wolves and The Juniper Tree, are approved. Jack Zipes alludes to this dichotomy in his foreword to the collection, contending that the latter films ‘unnerve us because they destabilize our notion of the happy-ended and predictable fairy tale’ while ‘optimistic fairy tale films such as Ever After and Disney’s Enchanted demand that we critically reflect about false and artificial gender definitions and the backlash against feminism’ (2010: xii–xiii). He has since differentiated strongly between these films, approving Ever After for its portrayal of ‘a woman with power who could control her own destiny’ while deeming Enchanted ‘pitiful’ (2011: 186, 89), conclusions that are highly contentious yet affirm that, even as they both make use of postmodern tropes, such films can strongly divide opinion. 7. Confirming the degree to which the ‘anti-tale’ has established itself as an approved style, we might note that Burton and del Toro are attached to various forthcoming projects such as Pinocchio and Beauty and the Beast, having proven their ability to attract critical approval and commercial success. 8. See Christy Williams’ essay (2010) for a discussion of competing responses to the film and its politics. As Williams states, the frame amounts to little in the end ‘since the audience knows that the Grimms did not change their text’, further asserting that ‘Danielle’s transgressive behaviour is always enabled by men, in reaction to men, or framed by men and is therefore safely contained in a clearly patriarchal structure’ (2010: 103, 108). 192 Notes to Chapter 6

9. For Sanders the metaphysical connotations are thus: ‘As I see it the Queen is death and Snow White is life. The Huntsman is halfway between the two. He’s suffered a great loss and he brings life and death together to find their equilibrium, so the world can turn again. The Queen has stopped death; therefore nature is repulsed and has turned in against itself.’ Interview given in Empire, Olly Richards, May 2012, p. 97. 10. There is some suggestion that the film was intended to have a sequel, explaining why the romance implied by the title is only hinted at in the end. Mercifully, another instalment seems unlikely, partly due to the scandal caused by the director’s extramarital tryst with his leading lady. 11. As Kimberley J. Lau (2008) asserts, Carter’s version soundly trumps both Perrault’s moralising and the original cautionary folk tale by affirming the heroine’s sexual agency, having her not only willingly engage in sexual rela- tions (stripping the wolf-man after undressing herself) but burning his clothes to ensure he remains a ‘beast’ and joining him in this animalistic state. 12. Zipes cites various deviations between Carter’s screenplay and the finished film, describing how the girl was originally intended to respond to wolf howls outside her bedroom by diving into the floor, an apparent symbol of having reached adulthood (2011: 148–50). In Jordan’s DVD comments, made 20 years on, he refers to this as ‘a lovely image’ which technical problems prevented him achieving, noting that with today’s CGI Carter’s vision would have been easier to emulate. He also acknowledges that his ending makes little sense, stating of the screaming girl, ‘if it had been entirely logical she should look at this creature the same way she looked at the huntsman, that same curious gaze, y’know?’ (Neil Jordan, DVD Special Edition, Granada Ventures, 2005). 13. Jordan’s film is not alone in failing to explore Carter’s most radical feature. Curiously, although Zipes dedicates his study The Trials and Tribulations of Little Red Riding Hood (1993) to Carter, and notes some interesting feminist revisions, including a tendency to stage a retaliation against ‘attack’, he seems reluctant to discuss Red Riding Hood as a symbol of sexual emancipa- tion, regarding sexually confident depictions with some suspicion. 14. Cursed (Wes Craven, 2005) crudely reworks the same format: the sexually assertive wolf-girl is demonised and destroyed. 15. For an interesting analysis of the film’s allegorical parallels with the War on Terror see the article at www.reverseshot.com/article/archive_village. 16. Troll Hunter (André Ovredal, 2010) amusingly emulates Blair Witch’s approach, as student film-makers discover trolls are real, yet subject to a government cover-up. Unlike the elusive witch, these folk monsters are substantiated via impressive CGI footage whilst remaining essentially one dimensional. The idea that fairy tale characters exist in our world is an increasingly popular motif in contemporary entertainment, featured in various films and TV series including Once Upon a Time and Grimm – with precursors such as Buffy and Supernatural – and is, again, very postmodern. 17. See the article at http://articles.latimes.com/2010/nov/21/entertainment/ la-et-1121-tangled-20101121 for further details about Disney Animation studio’s claims regarding Tangled and their interest in creating Flynn as a way to appeal to boys. 18. Bruno Bettelheim approves Rapunzel for mobilizing her ‘rescue’ through her own body – an idea Tangled extends in using her hair to liberate herself from Notes to Chapter 6 193

captivity and illuminate the way out of a dark cavern (as well as healing wounds) although it is an asset that must ultimately be forfeited. 19. As journalist Rebecca Armstrong wryly points out, objecting to the gender reversal in Raimi’s prequel and imagining the same treatment in other plots, ‘Perhaps there’s a case for recasting some fairy tales so the glass slipper is on the other foot. Raphael in the tower, imprisoned by a warlock, whose only joy in life is the brave princess who scales his beard every night. Sleeping Beau, so damn hot that his jealous stepdad tries to poison him. Or maybe he should just let the witches of Oz be the stars, rather than the wizard. It worked the first time round after all’, www.independent.co.uk/voices/ comment/female-protagonists-in-fairy-tales-imagine-if-the-witches-of-oz-got- their-due-8537973.html, posted Sunday 17 March 2013. 20. According to Hill (2013a) the film originated through screenwriter Mitchell Kapner, eager to make a pitch, summarising Baum’s sixth Oz novel, The Emerald City of Oz (1910), to Roth and inspiring particular interest about exploring the Wizard’s background. The resulting film ignores all other features of the book, which Zipes notes is especially significant in convincing Dorothy to stay in Oz, with Baum emphasising its utopian quality as a land where poverty does not exist, everyone has sufficient food and clothing, and the nation’s wealth is intended for everyone’s benefit – a utopian society (with apparent socialist features) that is clearly absent from the film’s depiction of a matriarchal tyranny (Zipes, 2011: 285–6). 21. The postmodern aspects of the film include a self-reflexive announcement of the genre’s conventions in the opening and some amusing intertextual casting (such as The Princess Bride’s Cary Elwes serving as the villainous Uncle Edgar), yet its truly progressive feature is an ‘enlightened’ heroine who speaks out against exploitation, campaigns against separatist policies such as forcing elves to be entertainers, using giants as slaves, and demonising ogres, defends her darker-skinned friend from bullying, and finally leads a coalition of the marginalised to become ‘a nation of equals’. Another overlooked fairy tale film featuring Hathaway is The Princess Diaries (Garry Marshall, 2001). Drawing from a series of books by Meg Cabot, a similar intent to overturn convention is displayed via a young woman who aligns being a princess with the power to achieve change, rather than having fancy dresses or wooing a prince. In the sequel she notably overturns the constitution by refusing to marry, insisting on ruling in her own right. While such films appear to have been critically ignored because they are aimed at teenage girls, one could argue that this is precisely why they are so important, providing refreshing alternatives to the usual ‘Disney princess’ model in creating empowering role models for young women – and setting an example Disney has started to emulate. 22. The game also features an older Alice, suggests Wonderland is her damaged psyche, and similarly makes the Jabberwock a servant of the villainous Red Queen. 23. For details about how long Disney’s ‘Snow Queen’ adaptation was in development, and a sobering reminder of the revision initially proposed, see Hill (2013b). As Hill relates, the original conception was an ice maiden who is eventually defrosted by a suitor, an idea Eisner was apparently very taken with, yet which was thankfully not developed. http://jimhillmedia.com/ 194 Notes to Epilogue

editor_in_chief1/b/jim_hill/archive/2013/10/18/countdown-to-disney-quot- frozen-quot-how-one-simple-suggestion-broke-the-ice-on-the-quot-snow- queen-quot-s-decades-long-story-problems.aspx#.UmbFXxZPrTQ. 24. The elimination of the villain, conspicuously emulating Gaston’s demise in Beauty and the Beast, is also notable, providing an intertextual nod to Disney’s back catalogue, and similarly repudiating male abuse of power.

Epilogue: The Importance of Enchantment

1. Although Zipes has often voiced concerns about mass-produced fairy tales, singling out the Disney Corporation as emblematic of the most negative tendencies, he has also found something positive to say about examples such as Mulan and Return to Oz, even as he regards such films as atypical, affirming the need to evaluate every film on its own merits. 2. Zipes conceives various forms of reappropriation, including ‘social satire’, ‘utopian’, ‘pedagogical’, ‘feminist’, ‘comic parody’ and ‘spiritual’, yet affirms that many tales can ‘carry on several dialogues all at the same time’ (2002b: 245). The notion of ‘re-utilisation’ derives from the German term ‘umfunktion- ierung’ and borrows from Bertold Brecht, Ernst Bloch and Walter Benjamin as an oppositional strategy, although Zipes admits it can be used for quite different ends. 3. The film also references British social realist film Kes (Ken Loach, 1969), as well as Italian neo-realist film Shoeshine (Vittorio de Sica, 1946) in which two boys similarly turn to crime, with bleak results, counterpointing a desire to care for animals against a cruel world. 4. There are various female characters in film whose lives are poignantly cur- tailed: the young girls seemingly taken by spirits in Picnic at Hanging Rock (Peter Weir, 1975), the sisters who end their own lives (due to a combina- tion of heartbreak, grief and pious contrition) in The Virgin Suicides (Sofia Coppola, 1999), the young girl murdered by a monstrous stepfather in Pan’s Labyrinth (only to be reborn in the world of her imagination), the dreamer who falls to her death in the place where she lived out her fantasies in Bridge to Terabithia (Istvan Csupo, 2007), or the equally fable-like Innocence (Lucile Hadzihalilovic, 2004) where tragedies similarly befall girls on the brink of sexual maturity. In all these cases we are invited to view the protagonists mythically, with the intimation that they were too good for this world, and able to enjoy greater freedom in death than they would as grown women, offering a bizarre inversion of Peter Pan. Indeed, the fact that some of these stories were based on real tragedies makes their apparent idealisation all the more disconcerting. Bibliography

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AI: Artiﬁ cial Intelligence (Steven Spielberg, 2001) Aladdin (Ron Clements and John Musker, 1992) Alice in Wonderland (Tim Burton, 2010) Amelie (Jean-Pierre Jeunet, 2001) American Psycho (Mary Harron, 2000) Audition (Odichon) (Takashi Miike, 2000) Batman Returns (Tim Burton, 1992) Battle Royale (Fukasuku Kinji, 2000) Beastly (Daniel Barnz, 2011) Beasts of the Southern Wild (Benh Zeitlin, 2012) Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991) La Belle et la bête (Jean Cocteau, 1946) Big (Penny Marshall, 1988) Big Daddy (Dennis Dugan, 1999) Big Fish (Tim Burton, 2003) The Big Lebowski (Joel and Ethan Coen, 1998) The Blair Witch Project (Daniel Myrick and Eduardo Sanchez, 1999) Blood and Chocolate (Katja von Garnier, 2007) Blood Diamond (Edward Zwick, 2006) Bluebeard (Catherine Breillart, 2009) Bluebeard/Le Barbe bleu (Georges Melies, 1901) The Bone Collector (Philip Noyce, 1999) Bound (Andy and Larry Wachowski, 1996) Brave (Mark Andrews, Brenda Chapman and Steve Purcell, 2012) Breaking the Waves (Lars von Trier, 1996) Bridge to Terabithia (Istvan Csupo, 2007) The Brothers Grimm (Terry Gilliam, 2005) Bruce Almighty (Tom Shadyac, 2003) Buried (Rodrigo Cortés, 2010) Butterﬂ y Kiss (Michael Winterbottom, 1995) Carrie (Brian de Palma, 1976) Cinderella (Clyde Geronimi, Hamilton Luske, Wilfred Jackson, 1950) A Cinderella Story (Mark Rosman, 2004) The City of Lost Children (Jean-Pierre Jeunet, 1995) The Company of Wolves (Neil Jordan, 1984) The Cooler (Wayne Kramer, 2003) Copycat (Jon Amiel, 1995) Coraline (Henry Selick, 2009) Corpse Bride (Tim Burton, 2005) Cursed (Wes Craven, 2005) The Daisy Chain (Aisling Walsh, 2007) The Dark (John Fawcett, 2005) Dark Water (Hideo Nakata, 2002)

204 Filmography 205

Dark Water (Walter Salles, 2005) Deliverance (John Boorman, 1972) The Descent (Neil Marshall, 2005) The Devil Wears Prada (David Frankel, 2006) The Devil’s Rejects (Rob Zombie, 2005) Dirty Weekend (Michael Winner, 1993) Django Unchained (Quentin Tarantino, 2012) Dolores Claiborne (Taylor Hackford, 1995) Domino (Tony Scott, 2005) Donkeyskin/Peau d’ane (Jacques Demy, 1970) Dumplings (Fruit Chan, 2004) Eden Lake (James Watkins, 2008) Edward Scissorhands (Tim Burton, 1990) Ella Enchanted (Tommy O’Haver, 2004) Enchanted (Kevin Lima, 2007) Evan Almighty (Tom Shadyac, 2007) Ever After: A Cinderella Story (Andy Tennant, 1998) The Exorcist (William Friedkin, 1973) F (Johannes Roberts, 2010) Fargo (Joel and Ethan Coen, 1996) The Fisher King (Terry Gilliam, 1991) The 40 Year Old Virgin (Judd Apatow, 2005) Freaky Friday (Gary Nelson, 1976) Freeway (Matthew Bright, 1996) Frozen (Jennifer Lee and Chris Buck, 2013) Gaslight (George Cukor, 1944) The Gift (Sam Raimi, 2000) Ginger Snaps (John Fawcett, 2000) Ginger Snaps 2: Unleashed (Brett Sullivan, 2003) Ginger Snaps Back: The Beginning (Grant Harvey, 2004) Glengarry Glen Ross (James Foley, 1992) The Godfather (Francis Ford Coppola, 1972) Green Card (Peter Weir, 1990) The Grifters (Stephen Frears, 1990) Groundhog Day (Harold Ramis, 1993) Gulliver’s Travels (Rob Letterman, 2010) Halloween (John Carpenter, 1978) Hanna (Joe Wright, 2011) Hansel and Gretel (Pil-Sung Yim, 2007) Hansel and Gretel: Witch Hunters (Tommy Wirkola, 2013) Hard Candy (David Slade, 2005) Hellraiser (Clive Barker, 1987) Hellbound: Hellraiser II ((Tony Randel, 1988) The Hills Have Eyes (Wes Craven, 1977) Hook (Steven Spielberg, 1991) House of 1000 Corpses (Rob Zombie, 2003) I Have Heard the Mermaids Singing (Patricia Rozema, 1987) I Spit on your Grave (Meir Zarchi, 1978) In Bruges (Martin McDonagh, 2008) 206 Filmography

In the Cut (Jane Campion, 2003) In the Valley of Elah (Paul Haggis, 2007) Inception (Christopher Nolan, 2010) Innocence (Lucile Hadzihalilovic, 2004) The Innocents (Jack Clayton, 1961) Insomnia (Christopher Nolan, 2002) The Invention of Lying (Ricky Gervais and Matthew Robinson, 2009) Jack the Giant Slayer (Bryan Singer, 2013) Jackie Brown (Quentin Tarantino, 1997) Jagged Edge (Richard Marquand, 1985) Jane Eyre (Robert Stevenson, 1943) Ju-on (Shimizu Takashi, 2000) The Juniper Tree (Nietzchka Keene, 1990) Kes (Ken Loach, 1969) Kill Bill vols I and II (Quentin Tarantino, 2003–4) Knocked Up (Judd Apatow, 2007) Kramer vs. Kramer (Robert Benton, 1979) Lady in the Water (M. Night Shyamalan, 2006) The Last Seduction (John Dahl, 1994) Lawn Dogs (John Duigan, 1997) Le Havre (Aki Kaurismäki, 2011) Liar Liar (Tom Shadyac, 1997) The Little Mermaid (Ron Clements and John Musker, 1989) Little Otik (Jan Svankmajer, 2000) Looking for Mr Goodbar (Richard Brooks, 1977) Lord of the Rings trilogy (Peter Jackson, 2001, 2002, 2003) Maid in Manhattan (Wayne Wang, 2002) Maleﬁ cent (Robert Stromberg, 2014) Mama (Andrés Muschietti, 2013) Memento (Christopher Nolan, 2000) Mermaid (aka Rusalka, Anna Melikyan, 2007) Mirror Mirror (Tarsem Singh, 2012) Miss Congeniality (Donald Petrie, 2000) Miss Congeniality 2: Armed and Fabulous (John Pasquin, 2005) Monster (Patty Jenkins, 2003) Monster-in-Law (Robert Luketic, 2005) Mr and Mrs Smith (Doug Liman, 2005) Mulan (Tony Bancroft and Barry Cook, 1998) My Best Friend’s Wedding (P.J. Hogan, 1997) My Big Fat Greek Wedding (Joel Zwick, 2002) Never Been Kissed (Raja Gosnell, 1999) The Nightmare Before Christmas (Henry Selick, 1993) A Nightmare on Elm Street (Wes Craven, 1984) No Country for Old Men (Joel and Ethan Cohen, 2007) Notorious (Alfred Hitchcock, 1946) The Odd Life of Timothy Green (Peter Hodges, 2013) Orphan (Jaume Collet-Serra, 2009) The Orphanage (Juan Antonio Bayona, 2007) The Others (Alejandro Amenabar, 2001) Filmography 207

Overboard (Garry Marshall, 1987) Oz the Great and Powerful (Sam Raimi, 2013) Pan’s Labyrinth (Guillermo del Toro, 2006) Penelope (Mark Palansky, 2006) Peter Pan (P.J. Hogan, 2003) Photographing Fairies (Nick Willing, 1997) The Piano (Jane Campion, 1993) Picnic at Hanging Rock (Peter Weir, 1975) Pinocchio (Guillermo del Toro, 2014) Ponyo (Hayao Miyazaki, 2008) Precious (Lee Daniels, 2009) Pretty Woman (Garry Marshall, 1990) The Princess and the Frog (Ron Clements and John Musker, 2009) The Princess Bride (Rob Reiner 1987) The Princess Diaries (Garry Marshall, 2001) Princess Diaries 2: Royal Engagement (Garry Marshall, 2004) Princess Mononoke (Hayao Miyazaki, 1997) The Proposal (Anne Fletcher, 2009) Psycho (Alfred Hitchcock, 1960) Public Enemy (William D. Wellman, 1931) Rear Window (Alfred Hitchcock, 1954) Rebecca (Alfred Hitchcock, 1940) Red Riding Hood (Giacomo Cimini, 2003) Red Riding Hood (Catherine Hardwicke, 2011) The Red Shoes (Michael Powell and Emeric Pressburger, 1948) Reservoir Dogs (Quentin Tarantino, 1992) Return to Oz (Walter Murch, 1985) The Ring (Gore Verbinski, 2002) Ringu (Hideo Nakata, 1998) Ring Two (Hideo Nakata, 2005) Role Models (David Wain, 2008) Scarface (Howard Hawks, 1932) Scarface (Brian De Palma, 1983) Scream quartet (Wes Craven, 1996, 1997, 2000, 2011) Secret Beyond the Door (Fritz Lang, 1948) The Secret of Roan Inish (John Sayles, 1994) The Selﬁ sh Giant (Clio Barnard, 2013) 17 Again (Burr Steers, 2009) Sexy Beast (Jonathan Glazer, 2000) Shallow Grave (Danny Boyle, 1994) Shallow Hal (Peter and Bobby Farrelly, 2001) The Shining (Stanley Kubrick, 1980) Shoeshine (Sciuscià) (Vittorio de Sica, 1946) Shrek (Andrew Adamson and Vicky Jenson, 2001) Shrek 2 (Andrew Adamson, Kelly Asbury and Conrad Vernon, 2004) Shrek the Third (Chris Miller and Raman Hui, 2007) Shrek Forever After (Mike Mitchell, 2010) Silence of the Lambs (Jonathan Demme, 1991) A Simple Plan (Sam Raimi, 1999) 208 Filmography

Skeleton Key (Iain Softley, 2005) Sleeping Beauty (Clyde Geronimi, Les Clark, Eric Larson, Wolfgang Reitherman, 1959) Sleeping Beauty (Julia Leigh, 2011) Sleeping with the Enemy (Joseph Rubin, 1991) Sleepy Hollow (Tim Burton, 1999) Sling Blade (Billy Bob Thornton, 1996) Snow White: The Fairest of Them All (Caroline Thompson, 2001) Snow White: A Tale of Terror (Michael Cohn, 1996) Snow White and the Huntsman (Rupert Sanders, 2012) Snow White and the Seven Dwarfs (David Hand, William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce, Ben Shopsteen, 1937) Some Call it Loving (James B. Harris, 1973) Spirited Away (Hayao Miyazaki, 2000) Splash (Ron Howard, 1984) Stardust (Matthew Vaughn, 2007) Swept Away (Guy Ritchie, 2002) Swimming with Sharks (George Huang, 1992) A Tale of Two Sisters (Kim Jee-woon, 2003) Tangled (Nathan Greno and Byron Howard, 2010) 10 Things I Hate About You (Gil Junger, 1999) The Texas Chainsaw Massacre (Tobe Hooper, 1974) 13 Going on 30 (Gary Winick, 2004) Three Kings (David O. Russell, 1999) Three Wishes for Cinderella (Vaclav Vorlicek, 1973) The Treasure of the Sierre Madre (John Huston, 1948) Treeless Mountain (So-Yong Kim, 2008) Troll Hunter (André Ovredal, 2010) Twin Peaks: Fire Walk with Me (David Lynch, 1991) Tyrannosaur (Paddy Considine, 2011) The Ugly Truth (Robert Luketic, 2009) The Uninvited (The Guard Brothers, 2009) The Usual Suspects (Bryan Singer, 1995) Vice Versa (Brian Gilbert, 1988) The Village (M. Night Shyamalan, 2004) The Virgin Suicides (Sofia Coppola, 1999) Waitress (Adrienne Shelley, 2007) Waking Ned (Kirk Jones, 1998) War of the Roses (Danny De Vito, 1989) Whale Rider (Niki Caro, 2002) What Happens in Vegas (Tom Vaughan, 2008) What Lies Beneath (Robert Zemeckis, 2000) What Women Want (Nancy Meyers, 2000) Where the Wild Things Are (Spike Jonze, 2010) Whispering Corridors (Park Ki-hyeong, 1998) Winter Witch (David Wu, 2012) The Wizard of Oz (Victor Fleming, 1939) Wolf Creek (Greg Mclean, 2005) Working Girl (Mike Nichols, 1988) Wrong Turn (Rob Schmidt, 2003) Index

Aarne-Thompson-Uther (index of tale Battle Royale (Fukasuku Kinji, types) 6–7, 52, 171–2n 2000) 136 AI: Artiﬁ cial Intelligence (Steven Beastly (Daniel Barnz, 2011) 16, Spielberg, 2001) 3, 16, 64 55–6, 179n ‘Aladdin’ (ATU 561) 74–5, 77, 82 Beasts of the Southern Wild (Benh Aladdin (Ron Clements and John Zeitlin, 2012) 167–8 Musker, 1992) 11, 28, 181n Beaumont, Jean-Marie Le Prince de 34 ‘Ali Baba’ (ATU 331) 1, 17, 79–80, see also ‘Beauty and the Beast’, 82, 84, 86, 89 conteuses see also Morgiana ‘The Beautiful and the Ugly Twin Alice in Wonderland (Tim Burton, Sisters’ (ATU 711) 51 2010) 1, 8, 158–9 ‘Beauty and the Beast’ (ATU ‘All-kinds-of-fur’ (ATU 510B) 174n 425C) 1, 4, 33, 34, 35, 54–5, 65, Allende, Isabelle 175n 176n, 178n, 194n Amelie (Jean-Pierre Jeunet, Beauty and the Beast (Gary Trousdale 2001) 169 and Kirk Wise, 1991) 11, 28, American McGee’s Alice 158, 193n 54–5, 56, 66, 178n ‘Animal Groom’ (ATU 425A) 52, Beauty and the Beast (TV series) 2, 174n, 176n, 178n 171n see also ‘Beauty and the Beast’, Bechdel test 159 ‘East of the Sun and West of the La Belle et la bête (Jean Cocteau, Moon’, ‘The Frog King’ 1946) 3 Arabian Nights collection viii, 3, 74, Benson, Steven 141 76, 94, 134, 182n, 183n Bettelheim, Bruno 33, 164, Armitt, Lucy 24, 78, 190n 187n, 192n Armstrong, Rebecca 193n Big (Penny Marshall, 1988) 60, 179n ‘Aschenputtal’ 8, 174n Big Daddy (Dennis Dugan, see also ‘Cinderella’ 1999) 179n Atwood, Margaret 141, 175n Big Fish (Tim Burton, 2003) 158 Audition (Odichon) (Takashi Miike, The Big Lebowski (Joel and Ethan 2000) 120–1, 188n Coen, 1998) 87 The Blair Witch Project (Daniel ‘Baba Yaga’ (ATU 313/334) 40, 67, Myrick and Eduardo Sanchez, 134, 176n, 180n 1999) 117, 150 ‘Babes in the Wood’ (ATU 327A) 150 ‘The Blind Baba-Abdalla’ (Arabian Bacchilega, Christina 5–6, 20, 140, Nights) 76 141, 142, 148, 156, 185n Blood and Chocolate (Katja von and John Reider 29, 142–3, 173n, Garnier, 2007) 149 175–6n, 191n Blood Diamond (Edward Zwick, Basile, Giambattista 43 2006) 89 see also ‘She-Bear’, ‘Sun, Moon The Bloody Chamber (collection) 147, and Talia’ 185n

209 210 Index

‘The Bloody Chamber’ (story) 109 The Nightmare before Christmas, ‘Blubber Boy’ 12, 173n Sleepy Hollow ‘Bluebeard’ (ATU 312) 1, 2, 4, 5, 14, Butler, David 4, 9, 59, 189n 17, 92–5, 98, 99, 100, 102, 102–4, Butterﬂ y Kiss (Michael Winterbottom, 106, 107, 108, 109, 110, 111, 1995) 107–8 176n, 183n, 184n, 185n, 186n, Byatt, A. S. 175n 190n Bluebeard/Le Barbe Bleu (Georges Campbell, Joseph 117, 188n Melies, 1901) 183n Campion, Jane 184–5n Bluebeard/Le Barbe Bleu (Catherine see also In the Cut, The Piano, Top of Breillart, 2009) 111–12 the Lake Bly, Robert 178n Capra, Frank 58 The Bone Collector (Philip Noyce, Carrie (Brian de Palma, 1976) 124, 138 1999) 106 Carter, Angela 12, 19, 24, 26, 113, Bottigheimer, Ruth 73, 75, 91, 181n, 114, 140, 141, 142, 147, 148, 170, 182n 172n, 174n, 185n Bound (Andy and Larry Wachowski, see also The Bloody Chamber, 1996) 84 ‘Blubber Boy’, ‘The Company of ‘The Boy Who Had Never Seen a Wolves’, ‘Keep your Secrets’ Woman’ (ATU 1678) 53 Carter, David 188n see also ‘The Youth Who Wanted to ‘Catskin’ (ATU 510B) 174n Know What Fear Is’ see also ‘All-kinds-of-fur’, Branagh, Kenneth 48 ‘Donkeyskin’, ‘The Maiden with- Brave (Mark Andrews, Brenda out Hands’, unnatural father Chapman and Steve Purcell, ‘Cendrillon’ 8, 176n 2012) 9, 28 see also ‘Cinderella’ Breaking the Waves (Lars von Trier, changeling motifs 121–3, 189n 1996) 11–12, 172n Cherry, Brigid 138, 175n, 188n Brecht, Bertolt 190n, 194n ‘A Child Returns from the Dead’ (ATU ‘The Bremen Town Musicians’ 769) (Grimm) 120 (Grimm) ‘The Children Who Played Butcher aka ‘The Musicians of Bremen’ 73, with One Another’ (Grimm) 136 181n Choi, Jinhee 130 The Bridge to Terabithia (Istvan Csupo, ‘Cinderella’ (ATU 510A) viii, 1, 2007) 194n 2, 4, 8, 9, 14, 15, 16, 21, 22, The Brothers Grimm (Terry Gilliam, 25, 29, 31, 32, 46, 47, 48, 50, 2005) 151 51, 52, 119, 127, 146, 174n Bruce Almighty (Tom Shadyac, 175n, 176n 2003) 16, 59, 63, 69 Cinderella (Disney’s 1950 film) 27 Brunnell, Charlene 190n A Cinderella Story (Mark Rosman, ‘Brünnhilde’ (ATU 519) 44, 177n 2004) 16, 30, 31, 37, 47, 61 Buck, Chris 160 The City of Lost Children (Jean-Pierre Buffy the Vampire Slayer (TV Jeunet, 1995) 168–9 series) 192n ‘Clever Gretel’ aka ‘Clever Gretchen’ Buried (Rodrigo Cortés, 2010) 183n (Grimm) 58, 91, 183n Burton, Tim 4, 6, 10, 11, 143, 158, ‘The Clever Peasant Girl’ (ATU 180n, 191n 875) 48 see also Alice in Wonderland, Big Fish, Clover, Carol 99, 186n, 187n Corpse Bride, Edward Scissorhands, see also Final Girl, the Index 211

‘The Company of Wolves’ ‘The Devil’s Three Golden Hairs’ (story) 147–8, 192n (Grimm) 181n The Company of Wolves (Neil Jordan, Diab, Hanna 182n 1984) 147–8, 191n, 192n Dirty Weekend (Michael Winner, conteuses 18–19, 54, 142, 174n, 1993) 107 176n, 178n, 191n Disney 1, 3, 9, 10, 12, 14, 23, 27–8, The Cooler (Wayne Kramer, 2003) 81 45, 48, 158–60, 175n, 194n see also Jean-Marie Le Prince de Django Unchained (Quentin Tarantino, Beaumont, Marie Catherine 2012) 44 D’Aulnoy, Marie-Jeanne L’Heritier, Dolores Claiborne (Taylor Hackford, Gabrielle-Suzanne Barbot de 1995) 110, 132–3 Villeneuve Domino (Tony Scott, 2005) 182n Copycat (Jon Amiel, 1995) 107 ‘Donkeyskin’ (ATU 510B) 18, 94, Coraline (Henry Selick, 2009) 125, 189n 119, 132–3, 187n Corliss, Richard 68 see also Peau d’ane (Jacques Demy, Corpse Bride (Tim Burton, 2005) 158 1970), unnatural father Craven, Wes 136–7 Dumplings (Fruit Chan, 2004) 18, see also Freddy Kreuger, A Nightmare 133–5 on Elm Street short film version, Three … Extremes Creed, Barbara 188n (2004) 133 ‘Cupid and Psyche’ (ATU Dundes, Alan 115, 187n 425A) 176n, 178n Cursed (Wes Craven, 2005) 192n ‘East of the Sun and West of the Moon’ (ATU 425A) 174n, 178n D’Aulnoy, Marie Catherine 191n see also ‘Beauty and the Beast’, see also conteuses, ‘The White Cat’ ‘Cupid and Psyche’ The Daisy Chain (Aisling Walsh, Eden Lake (James Watkins, 2007) 122–3, 138, 189n 2008) 135, 190n The Dark (John Fawcett, 2005) Edward Scissorhands (Tim Burton, 123–4, 138 1990) 16, 65–6, 158, 180n ‘Dark Water’ (original story, ‘Floating Electra complex 114, 131, Water’) 125 187n Dark Water (Hideo Nakata, Ella Enchanted (Tommy O’Haver, 2002) 125–5, 138 2004) 11, 157, 193n Dark Water (Walter Salles, The Emerald City of Oz (L. Frank 2005) 126–7, 138 Baum, 1910) 193n ‘The Death of the Little Hen’ Enchanted (Kevin Lima, 2007) 28–9, (Grimm) 189n 61, 143, 191n Death of a Salesman (Arthur Miller, Evan Almighty (Tom Shadyac, 1949) 84 2007) 60, 63 Del Toro, Guillermo 10, 11, 128–9, Ever After: A Cinderella Story (Andy 143, 191n Tennant, 1998) 29, 144, 145, see also Mama, The Orphanage, Pan’s 157, 191n Labyrinth The Exorcist (William Friedkin, The Descent (Neil Marshall, 2005) 135 1973) 138 The Devil Wears Prada (David Frankel, 2006) 16, 39–40 F (Johannes Roberts, 2010) 135 The Devil’s Rejects (Rob Zombie, Fargo (Joel and Ethan Coen, 2005) 188n 1996) 82, 87, 107 212 Index

Fatal Attraction (Adrian Lyne, ‘Goldilocks’ (ATU 171) 117 1987) 186n Gotz, Maya 175n ﬁ lm blanc 59 Green Card (Peter Weir, 1990) 34, 35 Final Girl, the 99, 106, 184n, 188n Greenhill, Pauline and Sydney Eve The Fisher King (Terry Gilliam, Matrix 6, 7, 8, 9, 10, 11, 12, 13, 1991) 3, 62–3, 68, 69 20, 27, 157 ‘The Fisherman and his Wife’ (ATU The Grifters (Stephen Frears, 555) 72, 87, 182n 1990) 82, 85 ‘Fitcher’s Bird’ (aka ‘Fowler’s Fowl’) Grimm, Jacob and Wilhelm 3, 25, 17, 94, 99, 107, 109, 110 45, 174–5n, 181n ‘Floating Water’ (Koji Suzuki) 125 Grimm (TV series) 2, 171n, 192n The 40 Year Old Virgin (Judd Apatow, Grimm Tales (aka The Children 2005) 62 and Household Tales) 23, 182n, ‘Frau Trude’ (Grimm) 150, 174n 183n Freaky Friday (Gary Nelson, see also ‘All-kinds-of-fur’, 1976) 179n ‘Aschenputtal’, ‘The Bremen Freeway (Matthew Bright, 1996) 111, Town Musicians’, ‘The 148, 149 Children Who Played Butcher Freud, Sigmund 18 with One Another’, ‘Clever see also Electra complex, uncanny, Gretel’, ‘The Death of the Little the Hen’, ‘The Devil’s Three Golden ‘The Frog King’ (ATU 440) 33, 178n Hairs’, ‘The Fisherman and his Frozen (Jennifer Lee and Chris Buck, Wife’, ‘Frau Trude’, ‘The Frog 2013) 28, 159–60, 193–4n King’, ‘The Golden Bird’, ‘The Golden Goose’, ‘Goldilocks’, Gaiman, Neil 125, 175n, 189n ‘Hans my Hedgehog’, ‘Hansel and Gaslight (George Cukor, 1944) 96 Gretel’, ‘The Hare Bride’, ‘Hop o’ The Gift (Sam Raimi, 2000) 105–6, 107 my Thumb’, ‘How Six Made Their Gilbert, John 176n Way in the World’, ‘The Juniper Gilbert, Sandra M. and Susan Tree’, ‘The King of the Golden Gubar 145, 184n Mountain’, ‘The Knapsack the Gilsdorf, Ethan 2, 10, 156 Hat and the Horn’, ‘Little Ginger Snaps (John Fawcett, Louse and Little Flea’, ‘The 2000) 148–9 Little Peasant’, ‘Maid Maleen’, Ginger Snaps 2: Unleashed (Brett ‘The Maiden without Hands’, Sullivan, 2003) 149 ‘The Pink’, ‘The Queen Bee’, Ginger Snaps Back: The Beginning ‘Rapunzel’, ‘Red Riding Hood’, (Grant Harvey, 2004) 149 ‘The Robber Bridegroom’, ‘The Girl and the Wolf’ (James ‘The Singing Bone’, ‘The Six Thurber, 1936) 111, 186n Swans’, ‘Sleeping Beauty’, ‘Snow Glengarry Glen Ross (James Foley, White’, ‘The Starving Children’, 1992) 84 ‘The Three Spinners’, ‘The Three The Godfather (Francis Ford Coppola, Feathers’, ‘The Twelve Brothers’, 1972) 83 ‘The Water of Life’, ‘The Wolf and Godwin, William 78, 181–2n the Kids’ ‘The Golden Bird’ (Grimm) 74, Groundhog Day (Harold Ramis, 178n 1993) 4, 57–8, 63, 69 ‘The Golden Goose’ (Grimm) 178n, Gulliver’s Travels (Rob Letterman, 181n 2010) 179n Index 213

Haase, Donald 6, 20, 47, 160, In Bruges (Martin McDonagh, 173n 2008) 81–2 Halloween (John Carpenter, In the Cut (Jane Campion, 2003) 5, 1978) 117, 118 17, 101–2, 103, 107, 185n Hanna (Joe Wright, 2011) 168 In the Valley of Elah (Paul Haggis, Hannon, Patricia 191n 2007) 111 ‘Hans my Hedgehog’ (Grimm) 173n Inception (Christopher Nolan, ‘Hansel and Gretel’ (ATU 327A) 2, 2010) 18, 109 19, 80–1, 117, 119, 133, 154 Innocence (Lucile Hadzihalilovic, Hansel and Gretel (Pil-Sung Yim, 2004) 194n 2007) 137–8 The Innocents (Jack Clayton, Hansel and Gretel: Witch Hunters 1961) 189n (Tommy Wirkola, 2012) 2, 154 Insomnia (Christopher Nolan, Hard Candy (David Slade, 2005) 2, 2002) 107 111, 148, 149 The Invention of Lying (Ricky Gervais ‘The Hare Bride’ (Grimm) 183n and Matthew Robinson, Heilbrun, Carolyn G. 20, 51, 174n, 2009) 53 178n Hellbound: Hellraiser II (Tony Randel, ‘Jack and the Beanstalk’ (ATU 328) 1, 1988) 5, 184n 2, 17, 19, 77–9, 90, 181–2n Hellraiser (Clive Barker, 1987) 118, Jack the Giant Slayer (Bryan Singer, 184n, 188n 2013) 79, 154–5, 163 ‘The Hen is Tripping in the Jackie Brown (Quentin Tarantino, Mountain’ 95 1997) 182n L’Heritier, Marie-Jeanne see conteuses, Jackson, Rosemary 141, 190n ‘The Subtle Princess’ Jagged Edge (Richard Marquand, The Hills Have Eyes (Wes Craven, 1985) 107 1977) 117 Jancovich, Mark 136 Hook (Steven Spielberg, 1985) 111 Jane Eyre (Charlotte Brontë, 1847) 184n ‘Hop o’ My Thumb’ (ATU 327B) Jane Eyre (Robert Stevenson, 1943) 96 80, 81 ‘Janghwa, Hongryeon’ (Rose Flower, ‘The Horned Snake’s Wife’ 187n Red Lotus) 189n House of 1000 Corpses (Rob Zombie, see also A Tale of Two Sisters 2003) 188n ‘The Jealous Sisters’ (Arabian ‘How Six Made Their Way in the Nights) 181n World’ (Grimm) 73, 181n Johns, Andreas 180n ‘How the Devil Married Three Sisters’ see also ‘Baba Yaga’ (ATU 311) 95 Jordan, Neil 10, 192n Hubner, Laura 118, 129 see also The Company of Wolves humbled heroine 33, 35, 39, 42 Jorgensen, Jeanna 187n see also ‘King Thrushbeard’, ‘The ‘The Juniper Tree’ (ATU 720) 18, Princess’s Laugh’, ‘The Taming of 119–20, 124, 127, 138 the Shrew’ Ju-on (Shimizu Takashi, 2000) 18, Hyland, Robert 188n 120, 121, 188n

I Have Heard the Mermaids Singing Kaiser, Erich (‘de-Grimmed’ (Patricia Rozema, 1987) 172n tales) 190n I Spit on your Grave (Meir Zarchi, ‘Kate Crackernuts’ (ATU 1978) 187n 306/711) 23, 174n 214 Index

‘Keep your Secrets’ 187n Lord of the Flies (William Golding, Kes (Ken Loach, 1969) 194n 1954) 135 Kill Bill vols I and II (Quentin Lord of the Rings trilogy (Peter Jackson, Tarantino, 2003–4) 44, 111 2001, 2002, 2003) 1, 62 ‘The Kind and Unkind Girls’ (ATU Lost (TV series) 171n 480) 51 Lurie, Alison 21, 22, 26, 29, 173n, ‘The King of the Golden Mountain’ 174n, 187n (Grimm) 83 Luthi, Max 50–1 Kinoshita, Chika 116, 187n ‘The Knapsack, the Hat, and the Mackenzie, Suzie 117 Horn’ (Grimm) 73–4 Maguire, Gregory 19, 141, 152, Knee, Adam 130–1 175n Knocked Up (Judd Apatow, Maid in Manhattan (Wayne Wang, 2007) 179n 2002) 29 Kolbenschlag, Madonna 177n ‘Maid Maleen’ (Grimm) 183n Kramer vs. Kramer (Robert Benton, ‘The Maiden without Hands’ (ATU 1979) 56 706) 132, 133, 177n, 187n Kreuger, Freddy 136–7 Maleﬁ cent (Robert Stromberg, 2014) 140, 158, 160 Lady in the Water (M. Night Mallin, Eric S. 150 Shyamalan, 2006) 12 Mama (Andrés Muschietti, ‘Lady Isabel and the Elf-knight’ 183n 2013) 127, 143 Lady Snowblood (Toshiya Fujita, ‘The Man on a Quest for his Lost 1973) 177n Wife’ (ATU 400) 53 Lang, Andrew 74, 173n, 174n Memento (Christopher Nolan, The Last Seduction (John Dahl, 2000) 18, 109 1994) 84 Mermaid (aka Rusalka, Anna Melikyan, Lau, Kimberley J. 192n 2007) 166, 172n Lawn Dogs (John Duigan, 1997) 16, Millet, Lydia 103–4 66–7 Mirror Mirror (Tarsem Singh, ‘The Lazy Spinner’ (ATU 1405) 183n 2012) 46, 145–7 Le Havre (Aki Kaurismäki, 2011) 169 Miss Congeniality (Donald Petrie, Lee, Jennifer 159 2000) 31–2 Lee, Tanith see ‘Wolfland’ Miss Congeniality 2: Armed and Liar Liar (Tom Shadyac, 1997) 56, Fabulous (John Pasquin, 59, 60 2005) 32, 176n Lieberman, Marcia 21, 22, 23, 26, ‘Mr Fox’ 95 54, 111, 173–4n Mr and Mrs Smith (Doug Liman, ‘Little Louse and Little Flea’ 2005) 35 (Grimm) 189n ‘Molly Whuppie’ (ATU 327B) 23 ‘The Little Mermaid’ (Hans Christian Monster (Patty Jenkins, 2003) 108 Andersen) 11–12, 140 Monster-in-Law (Robert Luketic, mermaid motif in films 172n 2005) 16, 40–1 The Little Mermaid (Ron Clements and ‘Moon Brow’ 175n John Musker, 1989) 11 Morgiana 80, 84, 182n Little Otik (Jan Svankmajer, 2000) 13 see also ‘Ali Baba’ ‘The Little Peasant’ (Grimm) 74 Mottram, James 89 Looking for Mr Goodbar (Richard Mulan (Tony Bancroft and Barry Brooks, 1977) 101 Cook, 1998) 28, 194n Index 215

My Best Friend’s Wedding (P.J. Hogan, Peter Pan 1, 6, 16, 56, 64–5, 68, 140, 1997) 16, 41–3 180n, 194n My Big Fat Greek Wedding (Joel Zwick, Peter Pan (P.J. Hogan, 2003) 180n 1992) 16, 31 The Piano (Jane Campion, 1993) 5, 100–1, 172n, 184–5n Never Been Kissed (Raja Gosnell, Picnic at Hanging Rock (Peter Weir, 1999) 16, 31 1975) 194n The Nightmare before Christmas (Henry ‘The Pink’ (Grimm) 173n Selick, 1993) 158 Pinocchio 1, 3, 16, 56, 62, 63–4, 78, A Nightmare on Elm Street (Wes 179–80n Craven, 1984) 117, 118, 136–7 Ponyo (Hayao Miyazaki, 2008) 12, No Country for Old Men (Joel and 172–3n Ethan Cohen, 2007) 17, 82, ‘The Porter and the Ladies’ (Arabian 87–8, 90, 182n Nights) 181n Notorious (Alfred Hitchcock, Precious (Lee Daniels, 2009) 132, 1946) 96, 98 133, 190n ‘The Premature Burial’ (Poe) 183n The Odd Life of Timothy Green (Peter Preston, Cathy Lynn 144 Hodges, 2013) 12–13 Pretty Woman (Garry Marshall, Of Mice and Men (John Steinbeck, 1990) 4, 29 1937) 68 The Princess and the Frog (Ron Clements Once Upon a Time (TV series) 2, and John Musker, 2009) 28 171n, 192n The Princess Bride (Rob Reiner, Once Upon a Time in Wonderland (TV 1987) 142, 157 series) 159 The Princess Diaries (Garry Marshall, Orenstein, Catherine 147, 148 2001) 193n Orphan (Jaume Collet-Serra, Princess Diaries 2: Royal Engagement 2009) 121–2, 131, 189n (Garry Marshall, 2004) 193n The Orphanage (Juan Antonio Bayona, ‘The Princess’s Laugh’ (ATU 559) 35 2007) 127, 138, 143 Princess Mononoke (Hayao Miyazaki, The Others (Alejandro Amenabar, 1997) 172n 2001) 124, 189n The Proposal (Anne Fletcher, Overboard (Garry Marshall, 2009) 37–9, 47 1987) 36 Propp, Vladimir 3, 171 Oz, the Great and Powerful (Sam Raimi, Psycho (Alfred Hitchcock, 1960) 99, 117 2013) 152–3, 163, 193n Public Enemy (William D. Wellman, 1931) 82 Pan’s Labyrinth (Guillermo del Toro, Purkiss, Diane 122, 180n, 189n 2006) 128–9, 143, 166, ‘Puss in Boots’ (ATU 545B) 80 191n, 194n Peau d’ane (Jacques Demy, ‘The Queen Bee’ (Grimm) 178n 1970) 131–2, 189n ‘The Queen’s Looking Glass’ (Gilbert Penelope (Mark Palansky, 2006) 78–9 and Gubar) 145 ‘Perceforest’ 176–7n see also ‘Sleeping Beauty’, ‘Sun, Rapunzel (ATU 310) 19, 146, 151–2 Moon and Talia’ see also Frozen Perrault, Charles 2, 3, 5, 8, 17, 25, Ray, Brian 65, 66 93–4, 98, 103, 147, 176n Rear Window (Alfred Hitchcock, see also ‘Bluebeard’ 1954) 99 216 Index

Rebecca (Daphne du Maurier, Shallow Hal (Peter and Bobby Farrelly, 1938) 184n 2001) 4, 58–9 Rebecca (Alfred Hitchcock, 1940) 96 Sharrett, Christopher 188n ‘Red Riding Hood’ (ATU 333) viii, 2, ‘She-Bear’ (Basile) 148 14, 19, 147, 173n, 192n The Shining (Stanley Kubrick, Red Riding Hood (Catherine 1980) 136, 190n Hardwicke, 2011) 11, 149–50 Shoeshine (Sciuscià) (Vittorio de Sica, The Red Shoes (Michael Powell 1946) 194n and Emeric Pressburger, 1948) 3, Shrek (Andrew Adamson and Vicky 11 Jenson, 2001) 29, 191n Reservoir Dogs (Quentin Tarantino, Shrek Forever After (Mike Mitchell, 1992) 81 2010) 176n Return to Oz (Walter Murch, Shrek the Third (Chris Miller and 1985) 158, 194n Raman Hui, 2007) 175n ‘Ricky with the Tuft’ 53 Silence of the Lambs (Jonathan Ringu (Hideo Nakata, 1998) 18, 120, Demme, 1991) 106, 186n 121, 123, 130, 188n A Simple Plan (Sam Raimi, 1999) 17, ‘The Robber Bridegroom’ (ATU 76, 82, 85–7, 88, 89, 90, 182n 955) 17, 84, 94, 99, 105, 107, ‘The Singing Bone’ (Grimm) 181n 109, 110 ‘The Six Swans’ (Grimm) 178n Role Models (David Wain, 2008) 179n Skeleton Key (Iain Softley, 2005) 184n Rowe, Karen E. 23–4, 174n ‘Sleeping Beauty’ (ATU 410) 15, 21, 15, 43–5, 140, 160, 174n, Salander, Lisbeth 108 176–7n Sanders, Rupert 144, 192n Sleeping Beauty (Disney 1959 film) 27 see also Snow White and the Sleeping Beauty (Julie Leigh, 2011) 45 Huntsman Sleeping with the Enemy (Joseph Rubin, Scarface (Howard Hawks, 1932) 82 1991) 5, 110 Scarface (Bryan De Palma, 1983) 83 Sleepy Hollow (Tim Burton, Scheherazade viii, 108, 153, 182n, 1999) 158 183–4n Sleepy Hollow (TV series) 2, 171n Scream films (Wes Craven, 1996, 1997, Sling Blade (Billy Bob Thornton, 2000, 2011) 99, 118 1996) 16, 68 ‘The Search for the Lost Husband’ Snowden, Kim 47, 148 (ATU 425) 53 ‘The Snow Maiden’ 189n Secret beyond the Door (Fritz Lang, ‘Snow White’ (ATU 709) viii, 1, 5, 1948) 96–9, 104, 109 15, 18, 19, 21, 25, 45–6, 119, 133, The Secret of Roan Inish (John Sayles, 144, 174n 1994) 167, 172n Snow White: A Tale of Terror (Michael Seifert, Lewis C. 176n, 191n Cohn, 1996) 130 The Selﬁ sh Giant (Clio Barnard, Snow White: The Fairest of Them All 2013) 168, 194n (Caroline Thompson, 2001) 146 17 Again (Burr Steers, 2009) 4, 60–2, Snow White and the Huntsman (Rupert 63, 69, 179n Sanders, 2012) 46, 144, 192n Sexton, Anne 146 Snow White and the Seven Dwarfs Sexy Beast (Jonathan Glazer, (Disney film version, 1937) 27 2000) 81, 84 ‘Snow White and the Seven Dwarfs’ Shallow Grave (Danny Boyle, (Sexton poem) 146 1994) 17, 76, 82, 85, 89 Sobchack, Vivian 136 Index 217

Some Call it Loving (James B. Harris, ‘The Three Feathers’ (Grimm) 178n 1973) 177n Three Kings (David O. Russell, Spirited Away (Hayao Miyazaki, 1999) 89, 182n 2000) 173n, 180n ‘The Three Spinners’ (ATU Splash (Ron Howard, 1984) 11 501) 183n Stardust (Matthew Vaughn, Three Wishes for Cinderella (Vaclav 2007) 157 Vorlicek, 1973) 9, 172n ‘The Starving Children’ Through the Looking Glass (Lewis (Grimm) 134 Carroll, 1871) 158 Stone, Kay 23, 174n ‘The Tinderbox’ (Hans Christian ‘The Story of Grandmother’ 147 Andersen) 77 see also ‘Red Riding Hood’ Tolkien, J.R.R. 168, 169 ‘The Subtle Princess’ see also Lord of the Rings trilogy (L’Heritier) 183n Top of the Lake (series) 185n, 186n ‘Sun, Moon and Talia’ (Basile) 43, ‘Treasure Finders Murder One 44, 176n Another’ (ATU 763) 89 Supernatural (TV series) 192n The Treasure of the Sierra Madre (John ‘Supertoys Last All Summer Long’ Huston, 1948) 89 (Brian Aldiss) 64 Treeless Mountain (So-Yong Kim, Swept Away (Guy Ritchie, 2002) 36–7 2008) 138 Swimming with Sharks (George Huang, ‘Trickster Wives and Maids’ (ATU 1992) 84 1741) 183n Troll Hunter (André Ovredal, Tabart, Benjamin 78 2010) 192n A Tale of Two Sisters (Kim Jee-woon, ‘The Twelve Brothers’ (Grimm) 178n 2003) 11, 18, 129–30, 131 Twin Peaks (TV series) 132, 171n ‘The Taming of the Shrew’ 37 Twin Peaks: Fire Walk with Me (David Tangled (Nathan Greno and Byron Lynch, 1991) 132 Howard, 2010) 151–2, 192–3n Tyrannosaur (Paddy Considine, Tatar, Maria 2, 5, 20, 25, 26, 33, 34, 2011) 110–11 45, 51, 53, 54, 72, 73, 75, 78, 95–7, 98–9, 100, 102, 103–4, The Ugly Truth (Robert Luketic, 108, 124, 144, 156, 164, 174–5n, 2009) 36 176n, 177–8n, 181n, 184n, 187n, uncanny, the (unheimlich) 115–16 188n, 190n The Uninvited (The Guard Brothers, Tehrani, Jamshid 14, 173n 2009) 18, 131, 189n 10 Things I Hate About You (Gil Junger, unnatural father 187n 1999) 11, 37, 39, 47 see also ‘All-kinds-of-fur’, ‘Catskin’, Tenniel, John 158 ‘Donkeyskin’, ‘The Maiden with- The Texas Chainsaw Massacre (Tobe out Hands’ Hooper, 1974) 117, 138 The Usual Suspects (Bryan Singer, 13 going on 30 (Gary Winick, 1995) 81 2004) 179n Thompson, Caroline 66, 180n Valenti, Peter see ﬁ lm blanc see also Edward Scissorhands The Vampire Diaries (TV series) 186n ‘Three Brothers’ (ATU654) 51 ‘Vasilisa the Priest’s Daughter’ 9 see also ‘youngest son’ narratives Vice Versa (Brian Gilbert, 1988) 56 Three … Extremes (2004) 133 The Village (M. Night Shyamalan, see also Dumplings 2004) 150, 192n 218 Index

Villeneuve, Gabrielle-Suzanne Barbot Williams, Christy 48, 191n de 54, 178n Williams, Tony 116, 137, 187n see also ‘Beauty and the Beast’, Winter Witch (David Wu, 2012) 160 conteuses The Wizard of Oz (Victor Fleming, The Virgin Suicides (Sofia Coppola, 1939) 152, 158 1999) 194n ‘The Wolf and the Kids’ (ATU 123) 173n Waitress (Adrienne Shelley, Wolf Creek (Greg Mclean, 2005) 167 2007) 43–4 ‘Wolfland’ (Tanith Lee, 1983) 149 Waking Ned (Kirk Jones, 1998) 85 Wood, Robin 115–16, 120, 139, War of the Roses (Danny De Vito, 187n 1989) 35 ‘The Wooden Baby’ 13 Warner, Marina 1, 3, 4, 5, 13–14, 28, Woolverton, Linda 55, 158 34, 53, 54, 55, 56, 66, 75, 78, 89, Working Girl (Mike Nichols, 1988) 30 94, 109–10, 119, 136, 148, 163–4, Wrong Turn (Rob Schmidt, 2003) 117 172n, 173n, 174n, 176n, 178n, 182n, 185n, 186n, 189n The X-Files (TV series) 171n ‘The Water of Life’ (ATU 551) 174n, X-Men 181n 178n, 182n Whale Rider (Niki Caro, 2002) 167 ‘Yotsuya Kaidan’ (Yotsuya Ghost What Happens in Vegas (Tom Vaughan, Story) 188n 2008) 34–5 ‘youngest son’ narratives 51, 53, What Lies Beneath (Robert Zemeckis, 73–4 2000) 104, 106, 107 ‘The Youth Who Wanted to Know What Women Want (Nancy Meyers, What Fear Is’ (ATU 326) 53–4, 2000) 59 178n Where the Wild Things Are (Maurice Sendak, 1963) 167 Zipes, Jack 1, 6, 7, 8, 9, 10, 13, 20, Whispering Corridors film series 130 22, 26, 27, 30, 44, 47, 48, 52, ‘The White Bride and the Black Bride’ 54, 70, 71, 73, 75, 103, 112, 116, (ATU 403) 41 137, 142, 147, 148, 156, 157, 164, ‘The White Cat’ (d’Aulnoy) 148, 165–6, 167, 168, 169, 172n, 174n, 176n 175n, 181n, 189n, 190n, 191n, Wicked (Gregory Maguire) 152 192n, 193n, 194n