The original story of “Cinderella” by the Grimm Brothers and the later Disney version Cinderella (1950) are both descriptions of a legendary fairy tale of a kind and gentle girl who overcomes the rancor of her stepmother and stepsisters and ultimately finds a happy ending....
Although the target audience of the film are teens, females, and romantics, A Cinderella Story can be praised and savored by all audiences because of its ingenious screenplay, acting, and melodic soundtrack....
[Speculates on possible early Christian legend in which the name Aschengruttel (Cinderella?) occurs.]Hanawalt, Barbara A.
[Mostly a general discussion of taletelling in eastern Samar, with comparative remarks on versions of Cinderella in the Phillipines.]Hartland, E.
“The experience of Laforet’s heroine and the extension of her dependent role at the end of Nada, as well as the novel’s haunting title, point to the possibility that Carmen Laforet, however unintentionally or unconsciously, may, in her very popular first novel, have begun the not inconsiderable process of redefining the Cinderella myth for Spanish women,” where so few have entered the work force in any roles other than domestic help at the bottom of the wage scale (p.
Belle’s story … is about a woman surprisingly untouched by power and riches … CINDERELLA ROCKEFELLER is the most intimate look we have had at being brought up a Rockefeller, and it shows us an unnerving thread of tragedy which weaves itself constantly, from generation to generation, among the threads of gold.
Here, I will discuss the significance of two Disney princesses, Snow White and Cinderella, and compare and contrast their treatment in a sociological and feminist framework....
[In the introduction to this issue of , Bacchilega seeks to reexamine the genre of the “Innocent Persecuted Heroine,” such as Rapunzel and Cinderella.
[Symbolic and spiritual interpretations of fairy tales in general, with some emphasis on Cinderella.]Bayley, Harold.
There are also hybrid texts that start as female fairy tales about the innocent persecuted maiden and end as pure sacred legends with the punishment of the villains/sinners by the sacred power” (p.
Dika contrasts Beckman’s film with the Disney version where “Cinderella transforms herself into a commodity: she is beautiful, well dressed, compliant, and is therefore marriageable, i.e., marketable.
In this work of art, she speaks of how a `Cinderella' lives in every day life, whether it is the plumber who wins the lottery, or the milkman turned real estate agent.
Analyzes Fay Weldon’s (1983), a complex satiric spoof of the Cinderella fairy tale through the self-victimization of Ruth who, hooked on the romance genre, throws away her talents and stature to become like the petite romance writer Mary, whom the mythic slipper fits.
The problem for Eastern European women is different from the Western women’s movement, a problem reflected in their Cinderella mythology (the Vassilisa story in particular), where women look upon themselves as functioning in dual roles, one public and of the work force, one private and domestic.
216-55) examines the resurgence of Cinderella fairy-tale fantasy as opposed to the communist ideology of Superwoman wearing a hard-hat on a building site.
Although women have been playing heroic roles recently, they have always been role models in movies, which have set examples for future generations, empowered women, and have shed light on the feminist movement in the U.S.