Fairy tale interrupted
Feminism, Masculinity, Wonder Cinema
Fiction & Literature, Literary Theory & Criticism, Theory, Nonfiction, Reference & Language, Study Aids, ESL, Foreign Languages
| Author: | Allison Craven | ISBN: | 9783034324717 |
| Publisher: | Peter Lang | Publication: | January 11, 2017 |
| Imprint: | Peter Lang AG, Internationaler Verlag der Wissenschaften | Language: | English |
| Author: | Allison Craven |
| ISBN: | 9783034324717 |
| Publisher: | Peter Lang |
| Publication: | January 11, 2017 |
| Imprint: | Peter Lang AG, Internationaler Verlag der Wissenschaften |
| Language: | English |
Feminism, masculinity and fairy tale figure within an extended analysis of Disney's Beauty and the Beast (1991), in light of the live-action remake, Beauty and the Beast (2017). The history of the fairy tale Beauty and the Beast is compared with Disney's adaptation which centralises the figure of the Beast rather than the heroine, Belle. A flagship during a key period of Disney’s corporate expansion in the early 1990s, in the first section of the book, the production is situated with respect to gender histories in the corresponding period: the rise of post-feminism, and its implicit disavowal of feminism, the mythopoetic men’s movement and the crisis of masculinity. The following section canvasses views of masculinity in second wave feminism and the role of myth and fairy in key works of feminism. A critical discussion ensues of twenty-first century wonder cinema in which the influence of feminist ideas is seen to circulate within the pastiche treatments of fairy tales and enchantment.
Feminism, masculinity and fairy tale figure within an extended analysis of Disney's Beauty and the Beast (1991), in light of the live-action remake, Beauty and the Beast (2017). The history of the fairy tale Beauty and the Beast is compared with Disney's adaptation which centralises the figure of the Beast rather than the heroine, Belle. A flagship during a key period of Disney’s corporate expansion in the early 1990s, in the first section of the book, the production is situated with respect to gender histories in the corresponding period: the rise of post-feminism, and its implicit disavowal of feminism, the mythopoetic men’s movement and the crisis of masculinity. The following section canvasses views of masculinity in second wave feminism and the role of myth and fairy in key works of feminism. A critical discussion ensues of twenty-first century wonder cinema in which the influence of feminist ideas is seen to circulate within the pastiche treatments of fairy tales and enchantment.
