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Notes
Notes
1 Grimm and Grimm, “Cinderella,” in Grimms’ Fairy Tales; Perrault, Cinderella: A Fairy Tale.
2 Grimm, Cinderella, p. 153.
3 Zipes, “The Great Cultural Tsunami of Fairy Tale Films,” in Fairy Tale Films Beyond Disney: International Perspectives, p. 1.
4 Zipes, The Enchanted Screen: The Unknown History of Fairy Tale Films.
5 Bacchilega and Rieder, “Mixing It Up: Generic Complexity and Gender Ideology in Early Twenty-First Century Fairy Tale Films,” in Fairy Tale Films: Visions of Ambiguity, p. 23.
6 Although animated fairy tale content is not produced exclusively for children, as evidenced by Netflix’s 2018 streaming series Disenchantment, created by Matt Groening, who also crated The Simpsons, which incidentally also features an unconventional fairy tale princess as its protagonist.
7 Bacchilega, Mixing It Up, p. 23.
8 Williams, “The Shoe Still Fits: Ever After and the Pursuit of a Feminist Cinderella,” in Fairy Tale Films: Visions of Ambiguity, p. 109.
9 Ibid., p. 114.
10 See, for example, Driscoll, Girls: Feminine Adolescence in Popular Culture and Cultural History; Whelehan, Overloaded: Popular Culture, Feminism, and the Future; Aapola, Gonick, and Harris, All About the Girl: Culture, Power, and Identity, and Young Femininity: Girlhood, Power, and Social Change.
11 Tally, Re-Imagining Girlhood: Hollywood and the Tween Girl Film Market.
12 Stone, “Things Walt Disney Never Told Us,” in Some Day Your Witch Will Come, p. 16.
13 Zipes, “Forward,” in Fairy Tale Films: Visions of Ambiguity, p. xii.
14 Tatar quoted in Bacchilega, Fairy Tales Transformed? Twenty-First Century Adaptations and the Politics of Wonder, p. 75.
15 Zipes, Cultural Tsunami, p. 6.
16 Seifert, Fairy Tales, Sexuality, and Gender in France, 1690–1715; Hannon, Fabulous Identities: Women’s Fairy Tales in Seventeenth Century France; Haase, “Preface,” in Fairy Tales and Feminism, pp. vii–viii.
17 Haase, “Forward,” in Some Day Your Witch Will Come, p. ix.
18 Lieberman, “‘Some Day My Prince Will Come’: Female Acculturation through the Fairy Tale,” in College English, p. 385.
19 Lurie, “Fairy Tale Liberation,” in New York Review of Books, p. 42.
20 Preston, “Disrupting the Boundaries of Genre and Gender: Postmodernism and the Fairy Tale,” in Fairy Tales and Feminism, p. 203.
21 Rozen, quoted in Preston, Disrupting, p. 203.
22 Yolen, quoted in Preston, Disrupting, p. 204.
23 Pipher, Reviving Ophelia: Saving the Selves of Adolescent Girls.
24 Zipes, Enchanted Screen, p. 172.
25 Ibid.
26 Unlike recent revisionist versions of “Cinderella” in popular literature such as Cinder Ella by S.T. Lynn (2016), or the Turkish anthology film Anlat Istanbul (Dirs. Ömür Atay, Selim Demirdelen, Kudret Sabanci, Yücel Yolcu, and Ümit Ünal, 2005), both of which feature transgender Cinderellas.
27 McRobbie, “Notes on Postfeminism and Popular Culture: Bridget Jones and the New Gender Regime,” in All About the Girl: Culture, Power and Identity, p. 28.
28 Williams, Shoe Still Fits, p. 101.
29 Ibid., p. 109.
30 Bacchilega, Mixing It Up, p. 30.
31 Pershing and Gablehouse, “Disney’s Enchanted: Patriarchal Backlash and Nostalgia in a Fairy Tale Film” in Early Twenty-First Century Fairy Tale Films,” in Fairy Tale Films: Visions of Ambiguity, p. 154.
32 Williams, Shoe Still Fits, p. 109–110.
33 Bacchilega, Mixing It Up, p. 29.
34 Pershing, Disney’s Enchanted, p. 137.
35 Ibid., p. 151.
36 Ibid., p. 154.
37 Stephens and McCallum, “Utopia, Dystopia, and Cultural Controversy in Ever After and The Grimm Brother’s Snow White,” in Marvels and Tales, p. 208.
38 Williams, Shoe Still Fits, p. 115.
39 Bacchilega, Mixing It Up.
40 Sandberg, Lean In: Women, Work, and the Will to Lead.
41 Pershing, Disney’s Enchanted, p. 153.
42 Preston, Disrupting, p. 200.
43 Pershing, Disney’s Enchanted, p. 153.
44 Baumgardner and Richards, Manifesta: Young Women, Feminism and the Future, p. 136.
45 Sawin, “Things Walt Disney Didn’t Tell Us (But at Which Rogers and Hammerstein at Least Hinted): The 1965 Made-for-TV Musical of Cinderella,” in Channeling Wonder, p. 118.
46 Zipes, Enchanted Screen, p. 181.
47 Williams, Shoe Still Fits, p. 114, original emphasis.
48 Ibid.
49 Ibid., p. 113.
50 Stone, “Fairy Tales for Adults: Walt Disney’s Americanization of the Märchen,” in Some Day Your Witch Will Come, p. 25.
51 Tasker and Negra, “Introduction,” in Interrogating Postfeminism: Gender and the Politics of Popular Culture, p. 2.
52 Bacchilega, Mixing It Up; Pershing, Disney’s Enchanted; Stephens and McCallum, Utopia; Williams, Shoe Still Fits.
53 Grimm, Cinderella.
54 Donoghue, “The Tale of the Shoe,” in Kissing the Witch: Old Tales in New Skins; Lo, Ash.
55 De La Rochère, Lathey, and Woźiak, “Introduction,” in Cinderella Across Cultures: New Directions and Interdisciplinary Perspectives, p. 1.
56 For a discussion of the positive reception of Ever After as a feminist text, see Williams (Shoe Still Fits), and for a discussion of the positive reception of Enchanted as a feminist text see Pershing and Gablehouse, Disney’s Enchanted, p. 140).
57 Snowdon, “Fairy Tale Film in the Classroom: Feminist Cultural Pedagogy, Angela Carter, and Neil Jordan’s The Company of Wolves,” in Fairy Tale Films: Visions of Ambiguity, p. 161.
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Rosalind Sibielski
Rosalind Sibielski is an Assistant Professor in the Film Studies program at Rhode Island College. Her work has appeared in Feminist Media Studies, Rhizomes, and The Projector: A Journal on Film, Media, and Culture, as well as the edited collections Monster Culture in the Twenty-First Century and Cyberfeminism 2.0. She is currently working on a book project examining 21st-century media adaptations of fairy tales.