Search results

You are looking at 101 - 110 of 590 items for :

  • "fairy tales" x
  • Refine by access: All content x
Clear All
Rowland Atkinson and Sarah Blandy

Peter and Jane in an idealised suburbia, complete with cheery milkmen, kindly policemen, and stay-at-home, smartly dressed young mother, father always home from the office by six o’clock. These idealised versions of the child’s home can be contrasted with other muchloved children’s stories in which ambivalence is expressed about the sanctity or stability of the home (Hansel and Gretel, Goldilocks and the Three Bears, The Wind in the Willows) and the disturbances generated by invading or uninvited guests. The historical telling of fairy tales builds on a sense of the

in Domestic fortress
Abstract only
Deborah Shaw

’ commercial aspirations. These broadly fit into a liberal leftist position, which eschews both reactionary and radical political positionings. Thus, I Three Amigos.indb 228 1/4/2013 1:02:05 PM Conclusion 229 have shown how El laberinto del fauno’s interpretations of the early Franco period correspond to fairy tale and fantasy requirements of happy endings, and demonstrated that the film fails to engage with the social realities of the defeat of the Republican forces. The more radical political element can be found in its feminist centring of Ofelia within the text

in The three amigos
The politics of marriage in late Mulholland
James H. Murphy

  black face here connotes anger or malice, and the stick speaks for itself. Sabina’s concerns are really about the possibility of an abusive and violent relationship in marrying Joe, and when Joe reassures her that she need not be afraid of his stick, she says that, although she dislikes it, she is confident she would be able to counter the violence of any man. Next, in a horror to fabulist reversal, Sabina transforms herself from witch into fairy godmother. Mulholland draws on the looking-glass trope so common in fairy tales and on the trope of the secret persona

in Irish women’s writing, 1878–1922
Abstract only
Peter Marks

. Gilliam employed and subverted genre in the earlier film, colliding fairy tales within a relatively coherent and causally determined narrative. The narrative of Time Bandits is far more fragmented, with potentially no obvious link between the different episodes. Part of the fragmentation came from the type of changes, compromises or improvisations that recur in Gilliam’s career. He admits that editor

in Terry Gilliam
Abstract only
Stefania Parigi

Paisà had its premiere at the Venice Film Festival in 1946. It is considered the most emblematic film of neorealism, though the term ‘neorealism’ was not yet part of critical debate until early in 1948. Rossellini had made his first film in 1939, Fantasia sottomarina / Underwater Fantasy , a short film on fish, halfway between a documentary and a fairy-tale. By 1946, he was shooting his sixth

in Cinema – Italy
Kate Ince

possible by temporarily coming between the two male lovers, and Gouttes d’eau sur pierres brûlantes , where a dance by all four actors to a Tony Holliday song relieves events that are taking a decidedly tragic turn with a couple of minutes of highly entertaining camp levity. A non-cinematic genre that marks both Sitcom and Les Amants criminels is the fairy tale. Animals often take on human form in fairy tales, and in Sitcom

in Five directors
Abstract only
Translating Unica Zürn
Patricia Allmer

And Renée Riese Hubert, describing the writings as ‘poems and autobiographical texts’, 7 argues that, in Das Haus der Krankheiten (written over ten days’ illness with jaundice fever across April and May 1958), ‘fictionalization frequently surfaces: dreams, intermittent recollections, views from unknown perspectives, echoes from fairy tales and black magic’. 8 This chapter will explore a series of questions around currently

in Surrealist women’s writing
The case of Guy and Arnaud de Lummen
Johanna Zanon

in the luxury fashion industry, one can also find them in other sectors, such as the automobile industry. In the famous sleeping beauty fairy tale told in different versions by Charles Perrault, by the Grimm Brothers, and by Walt Disney, the princess was cursed by a wicked fairy godmother, who predicted that she would one day prick her finger on the spindle of a spinning wheel and die. A good fairy softened the curse into a hundred years of sleep, from which only the kiss of a king’s son could awaken her. 1 While Sleeping Beauty epitomizes feminine passivity

in European fashion
Fashion and protest
Ory Bartal

and converted it into a commercial channel. They created products that targeted this audience of young Japanese women, who then followed the trend that was dictated by the companies and furthered the development of the style, which overtook Japanese visual culture in the 1980s. These products were characterised by a saccharine look or fairy-tale style, devoid of any power or sexual attributes that alluded to maturity. This commoditisation process brought the style from the margins to mainstream consumers. For example, in 1971 the Sanrio Company started marketing

in Critical design in Japan
Abstract only
Guy Austin

setting, a troubled anti-hero) and of the sports film (training sequences, shots of Tom’s naked torso as he prepares for his shot at glory), De battre… belongs, through its syntax, to the fairy-tale. It is essentially a story about how to find one’s adult identity by moving beyond parental control. Bruno Bettelheim could easily be describing the film when he writes of fairy-tales, ‘If we want to function well, we have to

in Contemporary French cinema