Snow White and the Seven Dwarfs 10.11.82 Scene 1
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Voyeurism, Humor and Fairy-Tales Lacaille 1
Voyeurism, Humor and Fairy-Tales LaCaille 1 Voyeurism, Humor and Fairy-Tales: A Closer look at Snow White and her Seven Dwarves Have you ever thought about how a work of art could change over time? Have you ever wondered why it is so easy for us to relate to a fairy tale and/or film? Have you questioned why what makes us laugh, makes us laugh or why we see what we see? I. Introduction: Snow White is the tale of life that was almost lost. The story is ultimately dark and twisted dealing with jealousy and death yet also uplifting with thoughts of beauty and love. Most fairy-tales have that affect. They “reflect typical, generally human situations and fates1” allowing us, the viewer and/or reader, to relate to the story and become the character through what Mulvey and Freud would describe as ego libido2. A fairy-tale is therefore dark and twisted because humans are inherently evil. Most people grow jealous at times and wish evil upon an- other. It is the job of the fairy-tale to exaggerate our horror, sorrow, and evil to make the end re- sult greater and happier. Many tales such as Snow White, though dealing with a large theme such as life almost lost, need some sort of outside source to keep the audience intrigued and buying into the story. Most people will not want to watch a film or read a story that is, though relative to our lives, ultimately depressing. Humor is this cohesive effect3. Though you may not think of Snow White as a necessarily humorous film, there is small bits and quirks of humor laid throughout the film, even in the most serious versions of this fairy-tale that films have tried to portray. -
Tracing Fairy Tales in Popular Culture Through the Depiction of Maternity in Three “Snow White” Variants
University of Louisville ThinkIR: The University of Louisville's Institutional Repository College of Arts & Sciences Senior Honors Theses College of Arts & Sciences 5-2014 Reflective tales : tracing fairy tales in popular culture through the depiction of maternity in three “Snow White” variants. Alexandra O'Keefe University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/honors Part of the Children's and Young Adult Literature Commons, and the Comparative Literature Commons Recommended Citation O'Keefe, Alexandra, "Reflective tales : tracing fairy tales in popular culture through the depiction of maternity in three “Snow White” variants." (2014). College of Arts & Sciences Senior Honors Theses. Paper 62. http://doi.org/10.18297/honors/62 This Senior Honors Thesis is brought to you for free and open access by the College of Arts & Sciences at ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in College of Arts & Sciences Senior Honors Theses by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. O’Keefe 1 Reflective Tales: Tracing Fairy Tales in Popular Culture through the Depiction of Maternity in Three “Snow White” Variants By Alexandra O’Keefe Submitted in partial fulfillment of the requirements for Graduation summa cum laude University of Louisville March, 2014 O’Keefe 2 The ability to adapt to the culture they occupy as well as the two-dimensionality of literary fairy tales allows them to relate to readers on a more meaningful level. -
Siemens Technology at the New Seven Dwarfs Mine Train
Siemens Technology at the new Seven Dwarfs Mine Train Lake Buena Vista, FL – Since 1937, Snow White and Seven Dwarfs have been entertaining audiences of all ages. As of May 28, 2014, the story found a new home within the largest expansion at the Magic Kingdom® Park. The Seven Dwarfs Mine Train, along with a host of new attractions, shows and restaurants now call New Fantasyland home. The Seven Dwarfs Mine Train, an exciting family coaster, features a forty-foot drop and a series of curves that send guests seated in mine cars swinging and swaying through the hills and caves of the enchanted forest. As part of the systems used to manage the operation of this new attraction, Walt Disney Imagineering chose Siemens to help automate many of the attraction‟s applications. Thanks to Siemens innovations, Sleepy, Doc, Grumpy, Bashful, Sneezy, Happy and Dopey entertain the guests while Siemens technologies are hard at work throughout the infrastructure of the attraction. This includes a host of Siemens‟ systems to ensure that the attraction runs safely and smoothly so that the mine cars are always a required distance from each other. Siemens equipment also delivers real-time information to the Cast Members operating the attraction for enhanced safety, efficiency and communication. The same Safety Controllers, SINAMICS safety variable frequency drives and Scalance Ethernet switches are also found throughout other areas of the new Fantasyland such as the new Dumbo the Flying Elephant®, and Under the Sea – Journey of the Little Mermaid attractions. And Siemens Fire and Safety technologies are found throughout Cinderella Castle. -
Snow White and the Seven Dwarfs
Snow White and the Seven Dwarfs Jacob Grimm Wilhelm Grimm October 5, 2017 Abstract Snow White was a princess who lived long, long ago. Her mother died and her father remarried. Her new stepmother wants to kill her because Snow White is more beautiful than she is. Then Snow White runs away and hides in a small cottage that belongs to seven dwarfs. The stepmother finds her and kills her (see Section 5). A noble prince comes and kisses her back to life and marries her. The stepmother goes to the marriage where she gets killed. 1 Contents 1 Introduction 2 2 The evil stepmother 2 3 The great forest 3 4 The seven dwarfs 3 4.1 The cottage . 3 4.2 The dwarfs . 3 4.3 The encounter . 4 5 The murder of Snow White 4 5.1 First attempt . 4 5.2 Second attempt . 5 5.3 Third attempt . 5 6 The funeral 6 7 The prince 6 8 The marriage 7 1 Introduction Once upon a time in the middle of winter, when the flakes of snow were falling like feathers from the sky, a queen sat at a window sewing, and the frame of the window was made of black ebony. And whilst she was sewing and looking out of the window at the snow, she pricked her finger with the needle, and three drops of blood fell upon the snow. And the red looked pretty upon the white snow, and she thought to herself, would that I had a child as white as snow, with lips as red as blood, and hair as black as the wood of the window-frame. -
Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films. -
Snow White in the Spanish Cultural Tradition
Bravo, Irene Raya, and María del Mar Rubio-Hernández. "Snow White in the Spanish cultural tradition: Analysis of the contemporary audiovisual adaptations of the tale." Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy. Ed. Chris Pallant and Christopher Holliday. New York: Bloomsbury Academic, 2021. 249–262. Bloomsbury Collections. Web. 27 Sep. 2021. <http://dx.doi.org/10.5040/9781501351198.ch-014>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 27 September 2021, 23:19 UTC. Copyright © Chris Pallant and Christopher Holliday 2021. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 249 14 Snow White in the Spanish cultural tradition: Analysis of the contemporary audiovisual adaptations of the tale Irene Raya Bravo and Mar í a del Mar Rubio-Hern á ndez Introduction – Snow White, an eternal and frontier-free tale As one of the most popular fairy tales, Snow White and the Seven Dwarfs has international transcendence. Not only has it been translated into numerous languages around the world, but it has also appeared in several formats since the nineteenth century. However, since 2000, an increase in both fi lm and television adaptations of fairy tales has served to retell this classic tales from a variety of different perspectives. In the numerous Snow White adaptations, formal and thematic modifi cations are often introduced, taking the story created by Disney in 1937 as an infl uential reference but altering its narrative in diverse ways. In the case of Spain, there are two contemporary versions of Snow White that participate in this trend: a fi lm adaptation called Blancanieves (Pablo Berger, 2012) and a television adaptation, included as an episode of the fantasy series Cu é ntame un cuento (Marcos Osorio Vidal, 99781501351228_pi-316.indd781501351228_pi-316.indd 224949 116-Nov-206-Nov-20 220:17:500:17:50 250 250 SNOW WHITE AND THE SEVEN DWARFS 2014). -
Blancanieves Se Despides De Los Siete Enanos: Snow White Says Goodbye to the Seven Dwarfs
Collage Volume 6 Number 1 Article 53 2012 Blancanieves se despides de los siete enanos: Snow White Says Goodbye to the Seven Dwarfs Daniel Persia Denison University Follow this and additional works at: https://digitalcommons.denison.edu/collage Part of the Modern Languages Commons, Photography Commons, and the Poetry Commons Recommended Citation Persia, Daniel (2012) "Blancanieves se despides de los siete enanos: Snow White Says Goodbye to the Seven Dwarfs," Collage: Vol. 6 : No. 1 , Article 53. Available at: https://digitalcommons.denison.edu/collage/vol6/iss1/53 This Article is brought to you for free and open access by the Modern Languages at Denison Digital Commons. It has been accepted for inclusion in Collage by an authorized editor of Denison Digital Commons. Photo by Charles O’Keefe Leopoldo María Panero (1948-) is a Spanish poet most commonly associated with the Novísimos, a reactionary, unconventional poetic group that began to question the basis of authority during Franco’s dictatorial regime. Panero’s voice is defiant yet resolute; his poetry deconstructs notions of identity by breaking traditional form. In Así se fundó Carnaby Street (1970), Panero creates a series of comic vignettes in poetic prose, distorting the reader’s memories of childhood innocence and re-mystifying a popular culture that has governed both past and present. Panero has spent much of his life in and out of psychiatric institutions, and consequently his representation of the aesthetic nightmare has evolved. Poemas del Manicomio de Mondragón (1999) reflects the shift in his poetry to a more twisted, obscure sense of futility and the nothingness that pervades human existence. -
Working Music, Sea Chanties, & Call-And-Response Poetry
Working Music, Sea Chanties, & Call-and-Response Poetry Target Grade Level: 5th-10th Time for Lesson: 60 minutes – Possible Long Term Research Project Overview & Major Themes Introduce students to poetry and sea chanties as an introduction to work on board Constitution and to call-and-response poetry. Students will explore several sea chanties or “work songs” illustrated in several well-known movies, the language involved, and the reasons for them. Students will write their own “sea chanty” or “work song”, using creative writing to develop thematic connections. Objectives Outcomes Materials & Resources Students will hear or read Students will • Whiteboard/Chalkboard at least 3 examples of “call- understand the purposes • Handout of lyrics of “work songs” and –response” poetry, sea served through “sea chanties, or “work songs”. chanties” and other • Computer/Television/ Movie Player “work songs”. • Access to www.youtube.com, or several movies that Students will explore at include work songs (listed below) least one period in history Students will use where a group of people creative writing skills to made use of “call-and – draft original poetry. response” poetry. Students will draft 1 poem, representative of “call- and-response” style, using creative writing skills. Time Instructional Activity 15 min. As an introduction to the activity, begin by showing brief clips of several sea chanties, or “work songs”, at least one that includes a “call-and-response” poetry style. An educator could use: • Master and Commander Sea Chanty • Moby Dick Sea Chanty • The Muppet Show, Episode 220 • Snow White & the Seven Dwarfs “Whistle While You Work” or “It’s Off to Work We Go” • O Brother Where Art Thou – Opening scene of chain gang at work © 2011 USS Constitution Museum Working Music, Sea Chanties, & Call-and-Response Poetry 1 Illustrations © 2010 Stephen Biesty www.asailorslifeforme.org Time Instructional Activity 5 min. -
155 Accompany Her to the Dwarfs' Cottage) As to Inappropriate Behaviors Or Cleaning Practices, Singing, “Whistle While You W
accompany her to the dwarfs’ cottage) as to inappropriate behaviors or cleaning practices, singing, “Whistle While You Work,” to speed the job along (Disney). When she catches the deer licking dishes clean, she starts, “Oh! No, no, no, no. Put them in the tub,” and once this issue is rectified, she corrects the squirrels, sweeping dirt and dust under the rug with their tails. “Ah, ah, ah, ah. Not under the rug” (Disney). While Snow White’s qualities of character develop (per the fairy tale’s representation of the female life cycle), Disney keeps his viewer entertained and engaged through Snow White’s motherly “tut- tutting” in song, as she teaches the little animals and woodland creatures how to clean and keep house and practices the functional role of mothering, also developing into the gendered prototype that American culture warrants. In the same way that an audience follows Snow White’s narrative development and function through song, the dwarfs too, memorably appear first accompanied by song. Immediately following the “Whistle While You Work” song and scene, a viewer encounters the dwarfs in the mine, with the song, “Heigh Ho.” This tune begins with the lyric “We dig, dig, dig, dig, dig, dig, dig in our mine the whole day through; To dig, dig, dig, dig, dig, dig, dig is what we really like to do” (Disney). The dwarfs are pictured here in the mine, happily gathering and sorting jewels of various sorts. Perhaps the more clearly recognizable, titular “Heigh-ho, Heigh-ho, It’s home from work we go [Whistle]” ends the tune, carrying the dwarfs through their forest walk home toward their cottage (Disney). -
Little Snow-White
Little Snow-White Germany, Jacob and Wilhelm Grimm Once upon a time in mid winter, when the snowflakes were falling like feathers from heaven, a beautiful queen sat sewing at her window, which had a frame of black ebony wood. As she sewed, she looked up at the snow and pricked her finger with her needle. Three drops of blood fell into the snow. The red on the white looked so beautiful, that she thought, "If only I had a child as white as snow, as red as blood, and as black as this frame." Soon afterward she had a little daughter that was as white as snow, as red as blood, and as black as ebony wood, and therefore they called her Little Snow-White. Now the queen was the most beautiful woman in all the land, and very proud of her beauty. She had a mirror, which she stood in front of every morning, and asked: Mirror, mirror, on the wall, Who in this land is fairest of all? And the mirror always said: You, my queen, are fairest of all. And then she knew for certain that no one in the world was more beautiful than she. Now Snow-White grew up, and when she was seven years old, she was so beautiful, that she surpassed even the queen herself. Now when the queen asked her mirror: Mirror, mirror, on the wall, Who in this land is fairest of all? The mirror said: You, my queen, are fair; it is true. But Little Snow-White is still A thousand times fairer than you. -
Unearthing Blanche-Neige: the Making Of
Philip, Greg, and Se´bastien Roffat. "Unearthing Blanche-Neige: The making of the first made-in- Hollywood French version of Snow White and its critical reception." Snow White and the Seven Dwarfs: New Perspectives on Production, Reception, Legacy. Ed. Chris Pallant and Christopher Holliday. New York: Bloomsbury Academic, 2021. 199–216. Bloomsbury Collections. Web. 27 Sep. 2021. <http://dx.doi.org/10.5040/9781501351198.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 27 September 2021, 08:53 UTC. Copyright © Chris Pallant and Christopher Holliday 2021. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 199 11 Unearthing Blanche-Neige : The making of the first made-in- Hollywood French version of Snow White and its critical reception Greg Philip and S e´ bastien Roffat The fi rst French version of Snow White and the Seven Dwarfs has never been the object of a full analysis. 1 This chapter is an attempt to present new information regarding the fi rst French dubbing made in Hollywood, alongside its production and its reception when fi rst shown in Paris on 6 May 1938. As long-time enthusiasts of the fi lm, our alternate goal was to be able to fi nd, screen and preserve that lost version. This raised several questions: What are the technical and artistic merits of this specifi c version? What was the creative process? How was it critically received? And why was this version replaced in subsequent releases? The making of the first French version In the silent era, movies were usually shot with two cameras. -
Fairest Free
FREE FAIREST PDF Gail Carson Levine | 352 pages | 24 Jul 2012 | HarperCollins Publishers Inc | 9780060734107 | English | New York, United States Fairest: A Memoir by Meredith Talusan Fairest is a novel by Gail Carson Levine. It uses some plot elements of the classic Snow White and is set in the Fairest world as Ella Enchanted. The Fairest of Ayortha, the setting of the story, is the neighboring kingdom of Kyrria, where Ella Enchanted was set and the story makes several allusions to the previous work. Aza, the adopted daughter of innkeepers in Ayortha, has always hated her appearance. Her prodigious size Fairest her odd coloring Fairest milk- white skin, dragon tongue lips, and hair that seems to be frying-pan black — are Fairest at variance Fairest the land's standards of beauty and often make her the target of stares and rude comments. However, Aza's voice garners as much attention as her looks, for Ayortha is a land of song, and Aza is an amazing Fairest. Besides being skilled at singing, Aza can also flawlessly mimic people and throw her voice without moving her mouth, a form of ventriloquism she calls "illusing". Still, Aza is flattered when a frequent visitor to the inn, a gnome named Zhamm, tells Aza that her hair is the Fairest beautiful Fairest has ever seen. While her hair looks black to humans, it is the lovely color htun, a Fairest purplish color, to gnomes. Zhamm foresees that Fairest will meet Fairest at Fairest point in the Fairest. When Aza's sister, Areida, goes to finishing school, Fairest Duchess of Olixo, an irritable guest at the Featherbed Inn, requests that Aza accompany her to the royal wedding because her companion has Fairest ill.