In this story Panttaja says it is both mothers that are wicked. Panttaja states the real mother “plots and schemes, and she wins” (Panttaja 660) when it comes to fulfilling the wishes of Ashputtle. But actually the two mothers have the same goal in mind; to have their daughters married off and have a joyful life. To be able to do this, the real mother puts a charm on the prince to make him fall in love with Ashputtle instead of anyone else. The prince did not dance with anyone else all night and would always say “she is my partner” (Grimm 630).
In the poem, the speaker states the girlchild has “wee lipsticks the color of cherry candy” (4), showing that she already wants to alter her appearance. As children grow into young adults, they become aware of outside judgments; as the girlchild was made aware in the poem. “Then in the magic of puberty, a classmate said:/ You have a great big nose and fat legs” (5-6). Girls are pressured into looking the way media portrays beauty. Unfortunately, outward appearances take on a more important role than other characteristics to teenage girls.
Every villain has a reason to why they become wicked in the first place. The Evil Queen makes many appearances in different stories for example the show Once Upon a Time or basically anything Disney related. The Evil Queen wasn’t always as bitter as she is commonly known for. It’s impossible for someone to just be born angry and bitter, something had to cause it. In the Disney book, My side of the Story: Snow White/Evil Queen, The Queen marries someone whom she does not love at all just for the title of becoming the Queen of all the land.
Orenstein began with an anecdote expressing her frustration with the princess theme, then talked about different product lines with the princess theme. From there she jumped from criticizing mothers that fell for the princess trend to how Disney’s princess product line started and finally finishes with references to studies about change in different aspects of a girl’s life. Along with their differences in approach, there also was a major difference in effectiveness. Poniewozik’s article was much more structured going from movie to movie explaining its impact on a girl’s life and stuck to one point which came across very effective. Orenstein, on the other hand, jumped from topic to topic without much of a connection and supported her claims with very little evidence, so it failed to be effective in getting her point
Mama Odie tells Naveen and Tiana, that Naveen must kiss Charlotte before twelve for she is the Mardi gras princess. The voodoo man Facilier promises to fulfill her dreams and turn her human, but Tiana realizes that she loves Naveen. She realizes that love is as important as her dreams. In the movie Tiana was very loyal to herself and her dreams. She endured a lot in order to break the curse and become human again.
Not only is it to inform adult women but it is also young girls too. She states, “If even the heroine in a Disney ‘girls’ movie’ does not enjoy being a girl, how must the girls watching her feel about it?” (Ross 553). She also reiterates that she is aiming to analyze and inform girls later in the text. “… I am concerned about what girls may learn about this potentially explosive aspect of their characters that could so easily burst the bounds of traditional feminity” (Ross 555). These two quotes present that the audience is in fact female.
They can be seen to be the predictor of future events and to say something about your life. But what deciphers as an adult nightmare from a child’s nightmare? In modern society, the term ‘adult’, other than its dictionary definition, is most commonly used to refer to pornography, or restricted sections of a shop, or library. The idea of restriction is a key theme in Carter’s parodies. It is as though she is revealing the dark depths of childhood fairy tales which were never explicitly written in the originals, due to the child audiences at which the texts were aimed.
On the surface, Disney is a remarkable institution and has put smiles on millions of faces. However, what many tend to overlook is the negative influence of these fairy tales. These myths are loaded with semiotics that teach children how to genderize. Most parents that expose their children to these animations have not the slightest clue how badly elements of semiotics are used to control their children’s behaviors. Judith Lorber breaks down the semiotics that is engraved in the concept of gender in her piece “The Social Construction of Gender.” She explains how gender affects our lives by controlling our identities.
"Walt Disney's 'Cinderella,'" adapted by Campbell Grant, is the Little Golden Book adaptation of the Disney film. "Cinderella," by Anne Sexton, is a poetic retelling of the "Cinderella" tale that exposes the artificiality of the fairy tale. The last version, written in 1976, is John Gardner's "Gudgekin the Thistle Girl." After the variants, in "'Cinderella': A Story of Sibling Rivalry and Oedipal Conflicts," Freudian psychologist Bruno Bettelheim analyzes "Cinderella's" hidden meanings and asserts that the tale appeals to children because it focuses on the sibling rivalry many children feel at a young age. A Jungian analyst, Jacqueline Schectman, examines the tale to find a sympathetic Stepmother in "'Cinderella' and the Loss of Father-Love."
Using numerous examples and details, Bettelheim is able to create a logical analysis of Cinderella. Focusing most of his claims on the effects of sibling rivalry and how it ascertains to young children in their developmental psychological stages. The author deliberates on a developing topic of sibling rivalry and how it applies to the fairy tale. He believes that the characters in the story have relevance to present day families and their children, in particular, younger siblings. Cinderella herself being, a sibling to awful step-sisters, is forced to be their personal slave, thus starting the rivalry between the characters.