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Keywords = postmodern fairy tale

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18 pages, 317 KiB  
Article
Aronofsky’s Black Swan as a Postmodern Fairy Tale: Mirroring a Narcissistic Society
by Margarete Johanna Landwehr
Humanities 2021, 10(3), 86; https://doi.org/10.3390/h10030086 - 30 Jun 2021
Viewed by 11671
Abstract
Based on the plot of Swan Lake, Black Swan depicts an ingenue’s metamorphosis into a woman and a prima ballerina that contains a fairy-tale plot in which a naïve heroine overcomes enemies and obstacles in order to achieve success and sexual maturity. Unlike [...] Read more.
Based on the plot of Swan Lake, Black Swan depicts an ingenue’s metamorphosis into a woman and a prima ballerina that contains a fairy-tale plot in which a naïve heroine overcomes enemies and obstacles in order to achieve success and sexual maturity. Unlike a traditional fairy tale, this cinematic tale concludes with death and the clear distinctions between good and evil, helper and adversary and reality vs. fantasy are fluid. As in many fairy tales, the film criticizes the values of its era, namely, the narcissistic aspects of contemporary society with its excessive worship of youth, beauty and celebrity, and its most pernicious results—escape into fantasy and insanity, aggressive rivalry, violence, and self-destruction. Full article
(This article belongs to the Special Issue Confronting the Real in Fairy Tales)
14 pages, 5515 KiB  
Article
“After Ever After”: Social Commentary through a Satiric Disney Parody for the Digital Age
by Kylie Schroeder
Humanities 2016, 5(3), 63; https://doi.org/10.3390/h5030063 - 27 Jul 2016
Cited by 1 | Viewed by 19324
Abstract
“If you’ve ever wondered why Disney tales all end in lies,” then ask YouTube artist Paint—aka Jon Cozart. He has created a video for YouTube.com that re-imagines what happened after four of Disney’s leading ladies’ “dreams came true.” Continuing a tradition that is [...] Read more.
“If you’ve ever wondered why Disney tales all end in lies,” then ask YouTube artist Paint—aka Jon Cozart. He has created a video for YouTube.com that re-imagines what happened after four of Disney’s leading ladies’ “dreams came true.” Continuing a tradition that is as old as the tales he sings about, the artist combines characters and melodies that have become culturally ubiquitous since the media domination of the Disney Corporation with an interpretation of the material that tries to make sense of the world in which it exists. Continuing the criticisms of post-modernism and feminist theory, Cozart challenges the “happily ever afters” that have become the stock endings for the genre. Through comedic satire he creates parodied storylines that bring four animated princesses out of their Disney realms and into the real world where they must deal with environmental destruction, racism, and colonialism, among other issues. The use of a video-sharing site such as Youtube.com not only allows for the expanded distribution of fan-created material, but it also directly addresses a wider audience than traditional oral story tellers could possibly reach: the Internet. This case study looks at the ways in which the global recognition of Disney culture allows for the creation of social commentary through familiar and beloved characters, while an increasingly digitally-connected world impacts the capabilities and understanding of both the creator and the viewers of the material. While far from being a new phenomenon, the reinterpretation of fairy tales takes on content and a form that reflects the increasingly globalized and digitized world in Cozart’s Disney parody. Full article
(This article belongs to the Special Issue Fairy Tale and its Uses in Contemporary New Media and Popular Culture)
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10 pages, 209 KiB  
Article
“All That Was Lost Is Revealed”: Motifs and Moral Ambiguity in Over the Garden Wall
by Kristiana Willsey
Humanities 2016, 5(3), 51; https://doi.org/10.3390/h5030051 - 5 Jul 2016
Viewed by 25080
Abstract
Pointedly nostalgic in both its source material and storytelling approach, Over the Garden Wall’s vintage aesthetic is not merely decorative, but ideological. The miniseries responds to recent postmodern fairy tale adaptations by stripping away a century of popular culture references and using [...] Read more.
Pointedly nostalgic in both its source material and storytelling approach, Over the Garden Wall’s vintage aesthetic is not merely decorative, but ideological. The miniseries responds to recent postmodern fairy tale adaptations by stripping away a century of popular culture references and using motifs, not to invoke and upset increasingly familiar fairy tales, but as an artist’s palette of evocative, available images. In privileging imagery and mood over lessons, Over the Garden Wall captures something that has become vanishingly rare in children’s media: the moral ambiguity of fairy tale worlds.1 Full article
(This article belongs to the Special Issue Fairy Tale and its Uses in Contemporary New Media and Popular Culture)
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