Unit B
Activity 1
From glass slippers to strong leaders
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1The evolution of Disney's heroines…
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Disney Princesses at a Christmas show parade, Canterbury, New Zealand, 2024.
Disney Princesses at a Christmas show parade, Canterbury, New Zealand, 2024.
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2
… and of their princes too!
… and of their princes too!
The princes from Snow White and Cinderella are just nameless minor characters with very little screen time, and they purely exist to give the princess protagonist her happy-ever-after ending.
The next two princes, Philip and Eric (from Sleeping Beauty and The Little Mermaid respectively), fare a tad better. Unlike their predecessors, they do have names, they have a bit more screen time, and, most notably, they slay the antagonists of their films. [...] The biggest outlier of the canon has to be Aladdin. This is the only princess film to date where its titular star is its prince character. So it's interesting that the princess of his desires, the headstrong Jasmine, has eclipsed Aladdin in popularity, thanks to the marketing success of Disney princess branding. That said, Aladdin is arguably the first of the princely bunch to demonstrate heroic qualities that might appeal to the boy demographic; these qualities carry over to subsequent love interests like Mulan's soldierly Li Shang and the swashbuckling Flynn Rider in Tangled. [...] Frozen signified a paradigm shift in Disney storytelling [...] The movie incorporates not one prince archetype, but two: Prince Hans, who's noble-born and aesthetically similar to the earliest princes, but who is ultimately revealed to be the villain, and Kristoff, who's closer to the more modern prince variant like Flynn Rider. Kristoff and Princess Anna do end up together, but their relationship is inconsequential because the true thematic core is Anna and Elsa's sisterhood.
The next two princes, Philip and Eric (from Sleeping Beauty and The Little Mermaid respectively), fare a tad better. Unlike their predecessors, they do have names, they have a bit more screen time, and, most notably, they slay the antagonists of their films. [...] The biggest outlier of the canon has to be Aladdin. This is the only princess film to date where its titular star is its prince character. So it's interesting that the princess of his desires, the headstrong Jasmine, has eclipsed Aladdin in popularity, thanks to the marketing success of Disney princess branding. That said, Aladdin is arguably the first of the princely bunch to demonstrate heroic qualities that might appeal to the boy demographic; these qualities carry over to subsequent love interests like Mulan's soldierly Li Shang and the swashbuckling Flynn Rider in Tangled. [...] Frozen signified a paradigm shift in Disney storytelling [...] The movie incorporates not one prince archetype, but two: Prince Hans, who's noble-born and aesthetically similar to the earliest princes, but who is ultimately revealed to be the villain, and Kristoff, who's closer to the more modern prince variant like Flynn Rider. Kristoff and Princess Anna do end up together, but their relationship is inconsequential because the true thematic core is Anna and Elsa's sisterhood.
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➜ La traduction de « sort »
Le mot « sort » peut se traduire en anglais par fate (le destin), luck (la chance), ou spell (un enchantement ou sort magique.)
Le mot « sort » peut se traduire en anglais par fate (le destin), luck (la chance), ou spell (un enchantement ou sort magique.)
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Questions
1
What strikes you the most in how princesses and princes are portrayed?
2
Pick out the major turning points in the evolutions of the characters.
3
Focus on the “happy-ever-after ending”, what can you say? Find examples showing it has evolved as well.
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Look at documents for 10 seconds then close the book. How many characters are you able to name?
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Background check
How can you explain the changes in the way Princesses and Princes are represented? What does this evolution reflect?Une erreur sur la page ? Une idée à proposer ?
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j'ai une idée !
Oups, une coquille
