In “Princess Paradox”, Poniewozik distinguishes that there is a different kind of “Cinderella” in today’s world compared to pre 21st century Cinderella. Poniewozik points out that the new characteristics of today’s Cinderella are being: self-determined, independent, not wanting a Prince Charming, and at the same time to be the one that saves Prince Charming. These characteristics are much more different compared to pre 21st century where Cinderella finds true love with a Prince Charming, and is completely dependent on him. The reason why Poniewozik thinks that this new trend of Cinderella isn’t bad for young girls is because those little girls who fantasize about being a princess one day see these new traits and try to imitate them. They see that these new princesses aren’t dependent on anyone, and have also learned lessons of feminism.
Nevertheless, many of them are found to present the characters of women as the subordinate position. Moreover, researchers have some results for women in Disney films. According to Towbin, Haddock, Zimmerman, Lund, and Tanner (2003: 30), their ideas of women in Disney films are very intense: “(a) A woman’s appearance is valued more than her intellect; (b)Women are helpless and in need of protection; (c) Women are domestic and likely to marry; (d) Overweight women are ugly, unpleasant, and unmarried”. Apart from these grim results, Disney added more affronts to women by portraying women characters to yearn for and absorb in love as researchers mention that women are likely to marry. Therefore, marriage or love was considered as the common theme of Disney heroines.
Can Every Girl Be a Princess? : Disney’s Biased Color Symbolism in Their Princess Movies If we believe Cinderella than “[e]very girl can be a princess” (Grady and Panzer). Actually, we have nothing more to do than “close [our] eyes and see” and then with a tip of the magic wand, we will be gone from “just [us] to royalty” (Grady and Panzer). But is it really this easy? For many young girls the Disney princesses serve as idols.
Despite the fact that these women had to suffer great ordeals during those times, fairytales have decided to convert this dreadful story into a story of love. In short, fairytales have always been, and always will be, based on the ideology of love being the true key to happiness. Despite the fact that numerous recent adaptations of the same fairytales try to make it more feminist, the “feminist” protagonist is almost always swept off her feet. References Belinkie, M. (2009). The Princess and the Frog: A Comparative Analysis.
(Beauty and the Belles Discourses of Feminism and Femininity in Disneyland, Allison, 2002) critically analyzed Belle in a more general and brief historiography of the fairy tale. It uses a rather general feminist approach to do so. This paper critically analyzed Belle alongside with Snow White in terms of beauty, costume, psyche and the motherless similarities between the two Disney female characters. The representations of these women can be seen to replicate certain of the myths of femininity perpetuated in Disney fiction, including feistiness, tragedy, associations with mutant masculinity, and an unusual relation to maternity (Allison, 2002 page 135). However, the masculinity stated by the author was not further
The film begins with a female, who longs for more than the life that she is living. There is then some sort of conflict that leads to the entrance of the male figure into her life and they begin to create a relationship. This relationship is in some way threatened by some external force, in which, the female needs the male to save her from. At the end of the movie, the female and male live happily ever after, after resolving the conflict (Ayers, 2003). This repetitive plot line is in the early Disney Princess movies, Snow White, Sleeping Beauty, and Cinderella and in more recent releases like Beauty and the Beast, The Little Mermaid, and Tangled.
As a consequence, Walt Disney Company became a media group with global influence. His current CEO is Robert Iger. CHARACTERISTICS Disney productions show conservative social stereotypes that influence to the general public. Disney products have always promoted a traditional family structure: a picture of the insecure woman, housewife, feminine and submissive to a man, father or husband. It has also inculcated beauty as something necessary to achieve happiness.
But Poppy and Ellen actually can both be compared to Cinderella. Poppy may not be the Cinderella figure but she is the one who does right in her way and judgment , and perhaps her definition of ‘good’ is different but her actions did ultimately bring good and saved other people. Ellen, the Cinderella of the story, is actually disliked by the readers. Just like when the fairy godmother in Cinderella dresses her beautifully for the ball to meet the prince, Corley dresses Ellen out of her maid outfit and makes her feel like the lady she was before. Part of the change was a pair of glass shoes she made her wear, and that hurt Ellen from the start.
I know that most of you know the story of my step-sister, Ella. Not Cinderella. Cinderella is the nickname that my sister and I gave to her. Now that I think about it, Cinderella sounds pretty, unless you know what the name really meant. In the stories, no matter what variation you read, there’s the snobby sister, a cruel stepmother, and the poor, helpless, girl who gets to marry the prince of her dreams.
Mrs. Coulter was very strong and full of powerful. Her powers came from her feminine wiles and tricks. She was insincere, shows the love and kindly emotion to Lyra, but from inside she had another feelings and plans towards her daughter. In the first of the novel she acts as the guardian for Lyra, but finally Lyra knows that Mrs. Coulter actually her mother. When Mrs. Coulter meets Lyra, she represents a sort of womanhood that Lyra finds attractive and charming.