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Reality Remixed: Neomedieval Princess Culture in Disney’s Enchanted

  • Maria Sachiko Cecire
Chapter
Part of the The New Middle Ages book series (TNMA)

Abstract

“The real world and the animated world collide.” This tagline, used to market the 2007 Disney film Enchanted, assumes an audience that knows what is meant by “real world” and “animated world.” In particular, the animated world implied by the tagline is one defined by a history of Disney fairy-tale tropes, which invites potential viewers to enjoy its “collision” with reality. The slogan for this mixed animated and live-action Princess narrative suggests a subversive approach to the Disney canon, one that promises to grapple with the disjuncture between the medievalisms of its fairy-tale realms and the trappings of modern life. The result, however, is a film that refuses any historical anchor for Disney’s fairy-tale ethos, fashioning instead what Carol Robinson and Pamela Clements call “neomedievalism,” in order to insist upon the pervasive relevance of that ethos in the contemporary world.1

Keywords

Fairy Tale American Idol Convergence Culture Disney Film Fairy Godmother 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Carol Robinson and Pamela Clements,“Living with Neornedievalisms,” Defining Medievalism(s) II, ed. Karl Fugelso (Cambridge: Brewer, 2009): 55–75. As Robinson and Clements note, this use of “neomedieval-ism” is markedly different from that exploredGoogle Scholar
  2. by Bruce Holsinger in Neomedievalism, Neoconservatism, and the War on Terror (Chicago: Prickly Paradigm, 2007). I intend no reference to Holsinger’s use of the term.Google Scholar
  3. 3.
    Henry Jenkins, Convergence Culture (New York: New York University Press, 2008).Google Scholar
  4. 4.
    For analysis of the differences in Princess culture during these eras, see Rebecca-Anne Do Rozario, “The Princess and the Magic Kingdom: Beyond Nostalgia, the Function of the Disney Princess,” Women’s Studies in Communication 27.1 (2004): 34–59.CrossRefGoogle Scholar
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    Henry Jenkins, Textual Poachers (New York: Routledge, 1992), 23.Google Scholar
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    Susan Aronstein and Robert Torry, “Magic Happens: Re-Enchanting Disney Adults,” Weber: The Contemporary West 26.2 (2010): 41–54, at 49.Google Scholar
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    Kathleen Coyne Kelly and Tison Pugh, “Introduction: Queer History, Cinematic Medievalism, and the Impossibilty of Sexuality,” Queer Movie Medievalisms, ed. Kathleen Coyne Kelly and Tison Pugh (Farnham: Ashgate, 2009), 1–17, at 3–4.Google Scholar
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    Jack Zipes, Fairy Tales and the Art of Subversion, 2nd ed. (New York: Routledge, 2006), 193 and 203.Google Scholar
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    Francesca Coppa, “An Editing Room of One’s Own: Vidding as Women’s Work,” Camera Obscura 26.2 (2011): 123–30, at 124.CrossRefGoogle Scholar

Copyright information

© Tison Pugh and Susan Aronstein 2012

Authors and Affiliations

  • Maria Sachiko Cecire

There are no affiliations available

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