Starting with Snow White: Disney’S Folkloric Impact and the Transformation of the American Fairy Tale

STARTING WITH SNOW WHITE: DISNEY’S FOLKLORIC IMPACT AND THE TRANSFORMATION OF THE AMERICAN FAIRY TALE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Dana M. DiLullo Gehling May 2018 Examining Committee Members: Miles Orvell, Advisory Chair, English & American Studies James Salazar, English Sue-Im Lee, English Paul Swann, External Member, Film & Media Arts © Copyright 2018 by Dana M. DiLullo Gehling All Rights Reserved ii ABSTRACT Since the late 1960s and early 1970s, critical scholarship concerning the fairy tale genre has done much to address the social, historical, cultural, and national motivations behind transformations of the fairy tale from a European starting point. However, the fairy tale’s development in the United States, including both its media-based adaptations and literary extensions, has been given limited attention. While the significance of Walt Disney’s animated films to the American fairy tale tradition has been addressed (by literary and film scholars alike), an interdisciplinary study drawing together Disney’s European and early twentieth century precursors (from literature, stage, and film); his own influential, modern debut; respondent literary and animated work of his immediate successors; and postmodern and twenty-first century adaptations has not been done. By examining the trajectory of a single tale, Snow White (or for Disney, Snow White and the Seven Dwarfs), this dissertation aims to acknowledge the scholarly attention given to Disney’s animated films, while further examining attributes which I suggest have enabled Disney to have a “folkloric impact” on the fairy tale genre in the United States. Disney’s work stands upon the bedrock of not only European but American Snow White variations and makes these “new” through an innovative deployment and unification of word or language, sound, and image, unimagined prior to the debut of Snow White and the Seven Dwarfs (1937). The effects of Disney’s influence, as a master storyteller, on both the fairy tale genre and commercial market were so profound that this particular version of the tale refuses to be forgotten, its shadow haunting successors who aimed to counter or iii redefine its understanding of fairy tale in light of shifting American values and culture. Therefore, even as the fairy tale is frequently understood to have moved beyond its folkloric “origins” (I use this term loosely, as the origins of fairy tale are surrounded by controversy), using the critical framework of folklorists Steven Swann Jones and Linda Dégh, as well as filmic folklorists, Sharon R. Sherman and Juwen Zhang, I explore how Disney’s patchwork of tradition, new technology, and media generated an easily recognizable and communicable tale, one that would be recalled, repeated, and reformed through adaptation by generations of audiences. These subsequent storytellers, in turn, extend American fairy tale tradition and lore still further. iv For my boys, Joe, Drew, & Finn v ACKNOWLEDGMENTS Not unlike the folklore or fairy tale that this project centers on, this dissertation was crafted through the feedback, guidance, and support of several voices. My sincerest gratitude first to the members of my committee. Under the direction of Miles Orvell, Advisory Chair, I formed a vision for this project and began to mold a host of ideas into a well-researched work of scholarship that I can be proud of. I appreciate his every prompt reply, encouraging word, and measured remark geared toward making this project a stronger one. His insights were invaluable. James Salazar’s knowledge of the child in American literature too, was key. James continually encouraged me to see the larger historical and scholarly interests pertinent to this work of folkloric/fairy tale scholarship and to understand how and where my voice fit. Sue-Im Lee, from earlier coursework and through the duration of this project, has enabled me to cautiously re-view myself as a critic. Arguments positioned herein have thus been strengthened both through her suggestions, remarks, and questions, as well as her guidance ensuring that I become a more thoughtful and critical reader of my own work. Lastly, many thanks to Paul Swann, external reader from Film and Media Arts, for offering his time, thoughtful consideration, and expertise in support of this dissertation project. I am immensely thankful for the essential input of each of these voices and will take their advisement into my future work. The support of Temple University’s Writing Center (now Student Success Center) was also immensely helpful. Lorraine Savage and Lori Salem gave me a host of opportunities that were not only rewarding, but benefited my writing and further scholarly development, as well. In my roles as a writing tutor, mentor (for new tutors vi and/or undergraduates), and academic coach, I continually adapted my writing, research, and strategies for success. Special thanks also to my colleagues at the Writing Center who listened and/or offered input or advice based on their experiences. Temple University’s financial support through my work at the Writing Center/Student Success Center, in Placement Scoring (through Institutional Research and Assessment), and through a Doctoral Dissertation Completion Grant helped to make my commitment to this program and project possible. These resources together have proven essential, and equally so has been the unconditional support of my family. My mom and dad, Lindy and Mike DiLullo, have been ever-supportive of my every aim and goal. They have listened, offered advice or encouragement when the moment was right, and cared for my son, helping him to grow, while I engaged in this important work. Joe’s family too, particularly his mother, Anne, and Bill, have been advocates of mine and have also shared countless hours with my son, to enable the path toward this goal. My “kids” have also sustained me. Drew cheered me on with his sing-song, “Heigh-ho” on many of my tougher days. Singing with him often helped me to more eagerly engage in the task ahead. Further, his genuine enthusiasm to hear about my work and thoughtful questions posed often guided me through revisions, enabling me to make arguments clearer and more explicit. What an astonishing almost-4-year old. Calliope, my dog, has also been a faithful partner, napping beside me, or on my books or laptop through nearly every phase of this work. And, as necessary, she has nudged my books vii away, taking me on walks to clear my head or reframe my ideas. Finally, Finn, still growing inside, motivated me to press on through this last stretch. Last, but certainly not least, my husband, Joe, and I are a “team,” and as such, I could not possibly have begun or come to the close of this program and project without him. He listened, even when my words failed to make sense, offered advice (when I wanted it and when I didn’t), encouraged me, supported me, and continually reminded me of my own strength. A simple “thank you,” does not quite seem enough, but here, it will have to do. My sincerest appreciation to each of the voices that enabled this story/history to take shape. Special thanks, as well, to the library specialists at the Billy Rose Theatre Division of the New York Public Library for the Performing Arts for their assistance with manuscripts of Marguerite Merington and Winthrop Ames. viii TABLE OF CONTENTS Page ABSTRACT ....................................................................................................................... iii DEDICATION .....................................................................................................................v ACKNOWLEDGMENTS ................................................................................................. vi LIST OF FIGURES .............................................................................................................x CHAPTER 1. INTRODUCTION: THE TRANSFORMATION OF AN AMERICAN SNOW WHITE TRADITION THROUGH HISTORY AND MEDIA ..........................1 2. SNOW WHITE: THE ORIGINS OF A “CLASSIC” ..................................................23 3. TRANSLATING CONTENT ACROSS CONTEXTS: FINDING ONE’S PURCHASE ON THE AMERICAN FAIRY TALE THROUGH SNOW WHITE .........................................................................................................................68 4. SNOW WHITE AND THE SEVEN DWARFS: DISNEY’S RESOUNDING INFLUENCE ON THE AMERICAN FAIRY TALE ...............................................115 5. FOLLOWING DISNEY: SNOW WHITE SUCCESSORS WANDA GÁG AND BOB CLAMPETT EMPLOY A NEW FOLKLORIC MODEL .....................175 6. CONCLUSION: TRANSFORMING DISNEY: RECUPERATIVE POWER AND POSSIBILITIES IN POSTMODERN, CONTEMPORARY, AND FUTURE SNOW WHITE ADAPTATIONS ..............................................................227 REFERENCES CITED ....................................................................................................241 ix LIST OF FIGURES Figure Page 1. Gág’s Queen ……………………………………….…………………………..190 2. “Snow White, the Queen and the Magic Mirror 1”………………….…..……..190 3. “She Ran All Day Through Woods and Woods” ……..……....………..….…...191 4. “Snow White Runs Through the Woods (Disney)”………..…..…...……..........192 5. Gág, Gutenberg, Title page …………………………………………………….193 6. Gág, Coward-McCann, Title page ……………………………..…...………….193 7. Dwarfs’ Discovery of Snow White, Gág…………………..…………………...196 8. Dwarfs’ Mining, ………………….…………………………………….………196 9. Dwarfs’ Mining Again……………………………...…………………………..197

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