마법의 주문 깨뜨리기 - 디즈니 애니메이션의 정치성과 그 전복-영화 〈슈렉 1〉〈슈렉 2〉를 중심으로 Breaking the Magic Spell: The Subversion of the Political Strategies of Disney Animations in Shrek 1 & 2
The purpose of this study is to clarify how Disney fairy tale films, which have strongly controlled the Hollywood animations, have appropriated the fairy tales and have made the romantic fantasy fixed in the audience’s mind. This paper also analyzes the way DreamWorks’ digital animations Shrek 1 & 2...
The purpose of this study is to clarify how Disney fairy tale films, which have strongly controlled the Hollywood animations, have appropriated the fairy tales and have made the romantic fantasy fixed in the audience’s mind. This paper also analyzes the way DreamWorks’ digital animations Shrek 1 & 2 succeed in overthrowing Disney"s fixed fantasy. Since Snow White and the Seven Dwarfs, which was produced in 1937 as Walt Disney’s first full-length animation, Disney has produced a similar kind of female characters repeatedly, such as Cinderella, Sleeping Beauty, etc., who are beautiful, feminine and passive. Generally Disney animations introduced a good and pretty girl as a heroine, a bad and ugly female character as an antagonist, which has resulted in the distorted dichotomy that beauty is good and right, while ugliness bad and wrong. Almost all of Disney fairy tale films focused on synchronization, one-dimensionality and uniformity for the purpose of keeping the Disney brand name as champion of entertainment. DreamWorks’ Shrek 1 & 2 overthrow the typical forms and styles of traditional Disney animations. First of all, the main characters are neither beautiful nor brave. Shrek, the hero, is an ugly ogre who lives alone around the swamp. He tries to save a princess kept in a high tower not because he looks for a true love but because he wants to recover his swamp. He expresses his concern about his own identity by saying that he has got layers. Princess Fiona is also a new type of female character who has halves of beauty and ugliness. Starting with the romantic fantasy about “true love’s first kiss,” she shows a very active and considerate attitude. At the end of Shrek 1, she does not change into a beautiful princess, which is another subversion of the fixed belief in magic. At the finale of Shrek 2, Fiona and Shrek reject the help of ‘happily ever after’ potion and admit each other as what he or she is. If the essential quality of all fantasy works is related with their capacity to subvert accepted standards and to provoke the audience to re-think their state of being, Shrek 1 & 2 belong to this category and suggest new formats and unique styles of animation.
The purpose of this study is to clarify how Disney fairy tale films, which have strongly controlled the Hollywood animations, have appropriated the fairy tales and have made the romantic fantasy fixed in the audience’s mind. This paper also analyzes the way DreamWorks’ digital animations Shrek 1 & 2 succeed in overthrowing Disney"s fixed fantasy. Since Snow White and the Seven Dwarfs, which was produced in 1937 as Walt Disney’s first full-length animation, Disney has produced a similar kind of female characters repeatedly, such as Cinderella, Sleeping Beauty, etc., who are beautiful, feminine and passive. Generally Disney animations introduced a good and pretty girl as a heroine, a bad and ugly female character as an antagonist, which has resulted in the distorted dichotomy that beauty is good and right, while ugliness bad and wrong. Almost all of Disney fairy tale films focused on synchronization, one-dimensionality and uniformity for the purpose of keeping the Disney brand name as champion of entertainment. DreamWorks’ Shrek 1 & 2 overthrow the typical forms and styles of traditional Disney animations. First of all, the main characters are neither beautiful nor brave. Shrek, the hero, is an ugly ogre who lives alone around the swamp. He tries to save a princess kept in a high tower not because he looks for a true love but because he wants to recover his swamp. He expresses his concern about his own identity by saying that he has got layers. Princess Fiona is also a new type of female character who has halves of beauty and ugliness. Starting with the romantic fantasy about “true love’s first kiss,” she shows a very active and considerate attitude. At the end of Shrek 1, she does not change into a beautiful princess, which is another subversion of the fixed belief in magic. At the finale of Shrek 2, Fiona and Shrek reject the help of ‘happily ever after’ potion and admit each other as what he or she is. If the essential quality of all fantasy works is related with their capacity to subvert accepted standards and to provoke the audience to re-think their state of being, Shrek 1 & 2 belong to this category and suggest new formats and unique styles of animation.
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