Cinderella And Princess Culture Analysis

This fairy tale has Cinderella being played as a pawn in a dark magical plan from her evil godmother, an element not commonly seen in such fairytales .Poppy ’s real maturity is shown at the end when her actual age is revealed - 16 years old. Day’s way of showing her age at the end could have been a stylistic manner to let the readers assume Poppy was mature and old but she was only sixteen; refusing to marry Prince Christian and telling him to wait a few more years is another

“When I grow up I want be a princess.” Almost every little girl 's dream was to grow up and live the life of the princesses we saw in movies. It was not until I actually started to analyze the movies that I realized that I do not want to be the princess I see on the screen. For so long I fell in love with the idea that I will one day find a man who will take care of me. I also pushed myself to fit the image of a “perfect princess”.

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?”).

Thus, interest in children 's books was growing and fairytales turned into children tales which were carrying moral concern. Along with the 20th century, Walt Disney has changed the concepts of its tales. They were no longer carrying any social message and it put children in a total dream world. At first sight, many Disney tales look innocent but they fundamentally have strong images hidden. For example, Disney draws a female figure that is dependent, which unknowingly cause gender stereotype in society.

Disney tells stories about pretty girls and princes who meet each other once and fall in love. This indirectly implants in children’s mind that appearance and materialism does matter, which might lead to vanity. For instance, the Hunchback of Notre Dame shows us that no matter how caring and kind Quasimodo is, Esmeralda and Phoebus are one couple because they are adequately good-looking. Another research has shown that in Disney classic movies, female characters are praised for their appearances (55%) and only 11% are for their abilities; however, Disney has changed their practice as in the millennial Disney movies, women are commented on their skills and abilities more (40%). (Guo 2016)

They all include the house lady persona and display female practices through their physical appearance (Coyne & Whitehead, 2009). Snow White is viewed as subordinate to the ruler, despite the fact that he is a minor character (Do Rozario, 2004). The film elaborate how she get saved by the Dwarf by going up against local obligations, for example, cleaning and cooking for them (Britain, Descartes, Collier-Docile, 2011). In Cinderella, her housework obligations are a demonstration of accommodation and an attempt to entice her family members. The second era of Disney princesses still has customary female qualities.

Since the 1930’s, Disney has been producing adaptations of fairy tales. Disney is known for their use of stereotypical images which is prominent still in today’s society. The first Disney film emerged with the adaptation of Snow White and the Seven Dwarfs and soon after that came Cinderella and Sleeping Beauty. Since the beginning, when the fairy tale princesses were “born”, it became evident that young girls and women were trying to imitate their behaviors. Young girls and women identify themselves as these character which affects not only how they view themselves but also their future roles in society based on the girls’ unrealistic beliefs.

Also in both stories, Cinderella still fits into the slipper and the step-sister are caught for trying to be Cinderella. However in the Disney’s Cinderella everyone lives happily ever after. In contrast, in Grimm’s Cinderella the step-sisters do not live happily ever after instead they are blinded by the birds pecking their eyes out. Another difference between the two stories is in Disney’s Cinderella the two step-sisters try to put their feet into the slipper, but it was obvious that they were both too big, then Cinderella tried it one and it fit just right. However in Grimm’s Cinderella the two step-sisters cut their heels and toes to fit into the slipper.

There are two different versions of “Cinderella”; there is a Walt Disney version and another version by Anne Sexton. Both of these versions are the same, but they are told to the reader differently. In both versions of the story, the authors describe a girl who was enslaved by her evil stepmother and her step sisters, who has shown jealousy towards her. However, the most important part, about the two versions of the “Cinderella” story told by Disney and Sexton is that both have different elements that are comparable and contrasting. The elements that compare and contrast both versions of the story are the plot, characters, characterization, and conflict.

When young girls imagine about a doll house they imagine the perfect doll, Barbie and Ken, with the prettiness outfits and accessories to match as well as the perfect family. Nora is a pretty woman, but expressionless and quite unintelligent. Nora has a husband who treats her like a helpless child and is more worried about his place in society. As compared to the fairy tale Cinderella her husband could be the evil step mother who belittles Cinderella.

Leslie Marmon Silko describes the importance of stories and storytelling in the Pueblo culture in “Language and Literature from a Pueblo Indian Perspective.” Silko explains that the “Pueblo expression resembles something like a spider’s web-with many little threads radiating from the center, crisscrossing one another,” rather than “being taken from point A to point B to point C” (pg 48 pp 1). Silko writes that “the origin story constructs our identity-with this story, we know who we are. We are the Lagunas. This is where we come from.

In "Little Girls or Little Women? The Disney Princess Effect", Stephanie Hanes makes the argument that Disney princesses and modern day media influence young girls in negative ways. Hanes suggests that sexualization is everywhere including cartoons. She points out that any detail such as Ms. Piggy showing cleavage, leads girls to assume that doing so is okay and natural. Furthermore, Hanes asserts that allowing girls to see themselves as sex objects is a contributor to depression, eating disorders, and many other health problems for young girls.

Gender Ideology in Grimm and Disney Why are young girls in society expected to look up to perfect princesses as role models? When did singing with animals and loving to cook and clean become admirable traits? Since 1937, movies have been made about the Grimm fairy tale princesses that highlight these ideals. Not only are these things inaccurate in real life; they are also altered from their original stories.

Until August 18, 1920, women were restricted rights. Throughout history, gender roles were set as women were ineligible to be educated and get paying jobs, leaving them to stay at home to cook and clean. August 18, 1920 was the day it changed for woman. The 19th amendment of the United States constitution was ratified to give women their own suffrage. After this day, women gained more equality, access to education, jobs in the workforce, and a change in domestic role.