2nd edition
edited by Anne E. Duggan Ph.D., Donald Haase Ph.D., Helen J. Callow
‘animated film, whether the popular hand-drawn or the
computer-generated cartoon, claymation or puppet animation, has a long history
of association with folk-loric and fairy tale forms. This may in part be attributed
with the domination of the Walt Disney Company over animated film and its
recurring reliance on fairy tale narrative.’ 43
‘The effect of Disney’s dominance and its recurring use of
fairy tales has been to reconfigure the fairy tale in the twentieth century as
exclusively, or at least preferably, a Disney product.’ 43
‘Rooted in more general parallels between the medium of
animation and the fairytale Disney, while dominant, is certainly not the only
producer of animated fairy-tale films. ‘ 43
‘While the popular narrative film of any sort has structural
parallels with the shape and pattern of fairy tale, particularly in its utopian
impulse, aspects of animation’s self-conscious constructedness and, in
particular, it’s simplicity and stripped down texture to provide a visual echo
of the classic sparseness and essentialism of folkloric forms.’ 43
‘Animation as a medium relies on action rather than dialogue
and visual trickery far more than sound; this
roughly parallels the folklore tendency to rely on action rather than
words and to externalize the meaning in plot.’ 43
‘’The infinite, magical possibilities and metamorphoses of
animation’s unrealistic surface seem to predispose to intrinsically to magical narratives’
43
‘Explicit fairy tale content in animated films is perhaps
even stronger than the implicit; from its earliest days, the animated film has
repeatedly generated new versions of familiar fairy tales.’ 44
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