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A Cultural History of the Disney Fairy TaleThe Reboot Era (2014–2017)

A Cultural History of the Disney Fairy Tale: The Reboot Era (2014–2017) [This chapter outlines the unique characteristics of Disney’s rebooted fairy tale films: Maleficent (Stromberg 2014), Cinderella (Branagh 2015) and Beauty and the Beast (Condon 2017). Intertextuality and ‘world building’ define these productions, as these fairy tale narratives become more aware of their function and position within America’s cultural paradigm. Much like Enchanted (Lima 2007) and Once Upon a Time (Horowitz and Kitsis 2011–2018), their status as live action feature films serves to situate the Disney fairy tale within the real world. It is also argued that this era is defined by correction, and in some cases, a “contingent nostalgia” (Mollet, Refractory 13, 2019a). Disney seeks to satisfy its audience’s desire for a happy ending, whilst ensuring that any disagreeable, exclusionary elements of the fairy tale narrative are eliminated. In an era characterised by the rise to prominence of Donald Trump, it is of note that these fairy tales take aim at toxic masculinity and white masculine privilege. This positions Disney’s productions away from the ultra-conservatism of the Trump administration, advocating a more liberally inclusive manifestation of the American Dream.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A Cultural History of the Disney Fairy TaleThe Reboot Era (2014–2017)

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Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2020
ISBN
978-3-030-50148-8
Pages
135 –163
DOI
10.1007/978-3-030-50149-5_6
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter outlines the unique characteristics of Disney’s rebooted fairy tale films: Maleficent (Stromberg 2014), Cinderella (Branagh 2015) and Beauty and the Beast (Condon 2017). Intertextuality and ‘world building’ define these productions, as these fairy tale narratives become more aware of their function and position within America’s cultural paradigm. Much like Enchanted (Lima 2007) and Once Upon a Time (Horowitz and Kitsis 2011–2018), their status as live action feature films serves to situate the Disney fairy tale within the real world. It is also argued that this era is defined by correction, and in some cases, a “contingent nostalgia” (Mollet, Refractory 13, 2019a). Disney seeks to satisfy its audience’s desire for a happy ending, whilst ensuring that any disagreeable, exclusionary elements of the fairy tale narrative are eliminated. In an era characterised by the rise to prominence of Donald Trump, it is of note that these fairy tales take aim at toxic masculinity and white masculine privilege. This positions Disney’s productions away from the ultra-conservatism of the Trump administration, advocating a more liberally inclusive manifestation of the American Dream.]

Published: Nov 22, 2020

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