In the list of the world’s most watched fairy tales, Cinderella is of no exception. Over the years, seven hundred versions of Cinderella have been created all over the world in different languages (Kelley, 1994). In the 19th century, the first written form of the story was published in China. However, a modern version of Cinderella collated in France in 1697 by Charles Perrault (Williams, 2016) has become very popular in the United States (Kelley, 1994). Based on Perrault’s version, Walt Disney created a full-length animation of Cinderella in 1950 (History.com Staff, 2009).
Since the new millennium has started, a new trend has taken over people's’ lives, specifically little girls’ lives, and this new trend is princesses. Both the articles, “The Princess Paradox”, by James Poniewozik and , “Cinderella and Princess culture” by Peggy Orenstein elaborate on the issue of princesses in today’s society. In Princess culture, Orenstein talks about how much cinderella and princess them goods: movies, toys, and dresses, hinder the growth of young girls and almost sees no good in them. Poniewozik in Princess Paradox, takes a different approach than Orenstein and talks about how princesses aren’t exactly a bad thing for young girls.Although, both articles address the issue of princesses, Orenstein completely dismissing the
It is nearly impossible for a tale to be passed down generations and still stay the same. The fairy tale “Cinderella” told by the Grimm brothers is almost 206 years old, and differences can be seen between the modern “Cinderella” story and the original. In “Cinderella,” by Jacob and Wilhelm Grimm, a young girl named Cinderella is treated like a servant by her family. Luckily she is gifted with beautiful clothing, enabling her to attend a festival, meeting her one true love. Cinderella gets married to the prince, and the step-sisters are punished by getting pecked in the eyes by birds.
The movie “Ever After” by Andy Tennant, and The short story Cinderella by Perrault, are both very different takes on the story of Cinderella. Perrault’s version of the story is the story that most of us have grown up with. It’s captivating and magical, but also it’s very one-dimensional, with a “magic pumpkin” and a “fairy godmother”. While, Tennant’s version is by far more realistic in nature, there is no magic pumpkin, but there is a prince who becomes her husband, an evil stepmother, and a pretty, kind hearted girl who slaves away doing as her stepmother demands. The “fairy godmother” does not randomly appear from no where, in “Ever After”, instead she is replaced by the great inventor Leonardo Da Vinic.
However, she has to leave the ball at midnight as the magic wears off and she turns back into her former self. She leaves behind a glass slipper that the prince uses to find her and they both live happily ever after. The main focus of this comparison essay is to analyze the similarities and differences of two movie versions of Cinderella: Rodger’s and Hammerstein’s Cinderella and A Cinderella Story. There are a number of similarities in both versions of the movie. Both movies illustrate the mistreatment of step children, the importance of young girls having a father figure in their lives, and the hope of finding true love and living happily ever after.
Literature Overview By reading aloud and exposing students to cultural literacy, it allow students to gain new perspective from different cultures. This lesson requires five cultural diverse books that are central themed with the well-known Cinderella story. By examining these books, I hope that students will appreciate the cultures from Mexico, China, India, Persia, and Hmong. In addition, these books are fictional cultural diverse books that are fairy tales which will engage students to comprehend a story with a central theme, yet see how they can have different points on view influenced by culture, likewise these books mirror on comparisons and differences.
Specifically in “Cinderella”, there are three easily identified character archetypes, which include the earth mother, star-crossed lovers, and damsel in distress. Although it is not a human character, the earth mother is recognized as “her mother's grave beneath the hazel-tree” (Hunt). Her mother’s grave is a great example of the earth mother because whenever Cinderella comes in contact or cries to the grave, it grants whatever she is in need of, which is also known as the fairy godmother in the modern version. Cinderella and the prince share a romantic relationship that is not tolerated by anyone because of the difference in their social statuses; therefore, they are seen as star-crossed lovers. When the father says, “she cannot possibly be the bride” and the step-mother says, “oh, no, she is much too dirty, she cannot show herself” it shows how cold-hearted and unaccepting of their love they are (Hunt).
From a young age, storybook heroes are subconsciously placed on pedestals by children; however, through idolizing fictional characters, imagination tends to get carried away in the boat society has built. Within the film Cinderella Man, Braddock assumes the role of the “new Cinderella”; rising from the ashes, Cinderbottom saves the working class through “self-determination and independence” (Poniewozik 324). However, Braddock unknowingly creates a leakage on the boat, causing the dreams of children to drown. While every child’s dream is to become a hero, such as Cinderella Man, not every child possesses the attributes such as Cinderella’s beauty that allows her to be the “bell of the ball” or the nimbleness of Jack in “Jack and the Beanstalk,” who escapes the giant with the “life-threatening chant” (Tatar 310). Thus, with Braddock’s rise to fame and fortune comes his pedestal of
From its onset with its first feature-length animated film, Snow White and the Seven Dwarfs in 1937, Disney has grown to become a worldwide phenomenon today. But over the years, various parent groups, scholars and film critics have accused Disney for creating shallow, stereotypical princesses whose ultimate aim was to find her 'prince charming ' and live happily ever after. In her article, “What’s Wrong With Cinderella?” in the New York Times, Peggy Orenstein expresses her concern over the effect of princess figures like Cinderella on young girls ' perceptions of themselves and how they should behave (“What’s Wrong With Cinderella?”).
“Always be a good girl, and I will look down from heaven and watch over you.” (Page 1) The Disney Cinderella was released on February 15th, 1950 but the tale told by The Grimm Brothers is a different twist on the Disney classic movie; instead of a fairy godmother and sweet, little mice running around, The Grimm Brothers wrote about a tree growing on Cinderellas mothers’ grave and with the help of tiny birds, every wish Cinderella makes comes true. The violent version of Cinderella by the Grimm Brother explains the struggle she faced trying to get away from her stepsisters but also keeping her humble and kind side looking for true love.
Abstract Most of us have grown up watching Disney films but never really thought of what they exactly mean to us. Our understanding of what it means to be a Disney princess is probably one of the reasons to what made us subject to the regulation of cultural values. Cinderella and other similar Disney princesses may be recognised as a part of an individual’s childhood but the values and ideas it conveyed can still be reflected in our decisions and behaviour as adults. Many young girls perceive Cinderella as a role model and create expectations and beliefs based on what is portrayed through her unfortunately these expectations are not fulfilled and ends in dissatisfaction.
The prince had heard of my story and traveled hundred of miles to find me. He approached my bed and whispered, “I shall lay a kiss upon your lips, knowing that it will effect my own appearance, though it shall not affect my heart.” He kissed me and I awoke crying, so touched by his noble gesture. When I saw him, all that shined through his ugliness was his love for me. My beauty was restored but my mindset was completely changed.
Beauty in Beauty in the Beast is also known for her beauty not only in her family but in people that knew her. In the classic tale Beauty is the youngest sister and she is described as “far prettier and cleverer than they were” (pg. 3 Villeneuve). In Cupid and Psyche, Psyche’s beauty is also known and is often