Search results

You are looking at 61 - 70 of 590 items for :

  • "fairy tales" x
  • Refine by access: All content x
Clear All
Reconceptualising British landscapes through the lens of children’s cinema
Suzanne Speidel

its environs evoke the Gothic –​both the horror and the fairy-​tale ends of the spectrum. The castle itself mingles the French medieval château with Scottish baronial architecture, although its most obvious antecedents are in fact Disney castles, as exemplified in Snow White and the Seven Dwarfs (William Cottrell et al., 1937), Cinderella (Clyde Geronimi et al., 1950) and Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991) –​as well as Disney’s theme parks. These are at once elaborate and simplified structures, emphasising the outlines of pointed spires and

in British rural landscapes on film
Orientalism and the erotic in L’Immortelle and C’est Gradiva qui vous appelle
John Phillips

documentary of the period on the colonial past. As in so many films and documentaries, Robbe-Grillet’s Orient is like a living museum, where the natives rarely make an appearance, and even when they do, they appear idle. The film consciously exhibits the Orient as steeped in an erotic languor recognisable from the paintings of Ingres and Delacroix. Work is not part of this ‘fairy-tale’ world: ‘Seul dans ce film en effet le

in Alain Robbe-Grillet
Abstract only
From preternatural pastoral to paranormal romance
Sam George and Bill Hughes

Angela Carter's wolf stories and Neil Jordan's adaptations of these as the film The Company of Wolves have also referenced the fairy tale ‘Little Red Riding Hood’ which, in some versions, is a tale of lycanthropy. However, as we warned earlier, one must be careful not to universalise the shapeshifter and erase its history. Perspectives on our relationship with nature and animality shift dramatically, and readings of werewolf texts should be particularised and placed into context. 19 In the twenty

in In the company of wolves
Abstract only
Lynn Abrams

who have a story to tell. Gossips, ‘old wives’, fireside fairy-tale tellers, the ‘Mother Gooses’ of tale-telling – all have been rediscovered and rehabilitated by feminist writers in the fields of literature, anthropology, ethnology and 35 myth and materiality in a woman’s world folklore studies.47 Women’s historians have adopted eclectic methodologies in order to ‘rescue’ or hear women’s voices and have especially turned to oral history – essentially the telling of stories about the past. Other kinds of texts as well, such as witchcraft narratives and judicial

in Myth and materiality in a woman’s world
Abstract only
The monstrous feminine as femme animale
Barbara Creed

‘doggy’ position or depicted enjoying sex with animals such as dogs and horses. As Midas Dekkers has shown, however, bestiality is a complex and controversial subject which should not be dismissed as mere pornography. 15 The alignment of woman and animal in myth and fairy tales, such as The Frog Prince and Beauty and the Beast , offers a refreshing and alternative view in which it is woman

in She-wolf
Marie Mulvey-Roberts

, this intermedial ‘urge’ was enhanced. Her fiction underwent shifts, often experi- Intermedial synergy in Angela Carter’s short fiction 21 menting with the idea of ‘story across media’ while creating forms of symbiosis between fiction and radio or screen plays. The short story ‘The Lady of the House of Love’ (1975) is an emanation of Carter’s radio play Vampirella,4 which, as mentioned above, emerged from a sensitivity to sound. The Company of Wolves, both the radio play and screenplay, propose three versions of fairy tales, carrying traces of an oral tradition

in The arts of Angela Carter
Chris Beasley and Heather Brook

meanings. In the latter part of this chapter, we consider how fairy tales 124 Relationalities – readily understood as myths, but less often considered to be political – inflect the ways that highly gendered heterosexual (and heteronormative) love relationships are represented in Hollywood romances. We demonstrate how romantic movies and especially romantic comedies construct templates for what is usually assumed and unmarked in gendered intimate relations. While almost every movie presents some aspect of interpersonal relationship, these relationships are generally

in The cultural politics of contemporary Hollywood film
The exposition scene in Buffy
Matthew Pateman

creation of a creature of genuine fear – a nightmare, fairy-tale bogeyman, who also manages to offer cultural and historical critique. In describing the process of developing the Gentlemen, Whedon draws attention to the metal teeth, and equates this precisely with late Victorian considerations of science's ability to supersede both supernatural explanations of curious phenomena, as well as being an aspect

in Joss Whedon
Anna Maguire Elliott

Woods”’ (54). The fear of being alone in the woods draws on this mythic fairy tale, as well as others like ‘Hansel and Gretel’. In these morality tales, popular in the nineteenth-century household, the woodland is where an orphan might be stolen by an unstable adult and mothers warn of the dangers of disobeying the expectations of good behaviour set within the home. 3 Robinson thus highlights the traditional separation of the domestic ideal from the contrasting, threatening landscape, but also emphasises this dichotomy

in Marilynne Robinson
Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.