The Classic Fairy Tales (Second Edition) (Norton Critical Editions)

by Edited by Maria Tatar

  The celebration of the pen/phallus as ruler of the symbolic order of the film was in keeping with the way that animated films were actually produced in the studios during the 1920s. That is, most of the studios, largely located in New York, had begun to be run on the Taylor system by men who joined together under the supervision of the head of the studio to produce the cartoons. After making his first fairy-tale films in close cooperation with Ub Iwerks in Kansas City, Disney moved to Hollywood, where he developed the taylorized studio to the point of perfection. Under his direction, the films were carefully scripted to project his story or vision of how a story should be related. The storyline was carried by hundreds of repetitious images created by the artists in his studios. Their contribution was in many respects like that of the dwarfs in Snow White and the Seven Dwarfs: they were to do the spadework, while the glorified prince was to come along and carry away the prize.

  It might be considered somewhat one-dimensional to examine all of Disney’s films as self-figurations, or embodiments of the chief designer’s9 wishes and beliefs. However, to understand Disney’s importance as designer and director of fairy-tale films that set a particular pattern and model as the film industry developed, it does make sense to elaborate on Crafton’s notion of self-figuration, for it provides an important clue for grasping the further development of the fairy tale as animated film or film in general.

  We have already seen that one of the results stemming from the shift from the oral to the literary in the institutionalization of the fairy tale was a loss of live contact with the storyteller and a sense of community or commonality. This loss was a result of the social-industrial transformations at the end of the nineteenth century with the Gemeinschaft (community-based society) giving way to the Gesellschaft (contract-based society). However, it was not a total loss, for industrialization brought about greater comfort, sophistication, and literacy in addition to new kinds of communication in public institutions. Therefore, as I have demonstrated, the literary fairy tale’s ascent corresponded to violent and progressive shifts in society and celebrated individualism, subjectivity, and reflection. It featured the narrative voice of the educated author and publisher over communal voices and set new guidelines for freedom of speech and expression. In addition, proprietary rights to a particular tale were established, and the literary tale became a commodity that paradoxically spoke out in the name of the unbridled imagination. Indeed, because it was born out of alienation, the literary fairy tale fostered a search for new “magical” means to overcome the instrumentalization of the imagination.

  By 1900 literature began to be superseded by the mechanical means of reproduction that, Walter Benjamin declared, were revolutionary:

  the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies of a unique existence. And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced. These two processes lead to a tremendous shattering of tradition which is the obverse of the contemporary crisis and renewal of mankind. Both processes are intimately connected with the contemporary mass movements. Their most powerful agent is the film. Its social significance, particularly in its most positive form, is inconceivable without its destructive, cathartic aspect, that is, the liquidation of the traditional value of the cultural heritage.10

  Benjamin analyzed how the revolutionary technological nature of the film could either bring about an aestheticization of politics leading to the violation of the masses through fascism, or a politicization of aesthetics that provides the necessary critical detachment for the masses to take charge of their own destiny.

  In the case of the fairy-tale film at the beginning of the twentieth century, there are “revolutionary” aspects that we can note, and they prepared the way for progressive innovation that expanded the horizons of viewers and led to greater understanding of social conditions and culture. But there were also regressive uses of mechanical reproduction that brought about the cult of the personality and commodification of film narratives. For instance, the voice in fairy-tale films is at first effaced so that the image totally dominates the screen, and the words or narrative voice can only speak through the designs of the animator who, in the case of Walt Disney, has signed his name prominently on the screen. In fact, for a long time, Disney did not give credit to the artists and technicians who worked on his films. These images were intended both to smash the aura of heritage and to celebrate the ingenuity, inventiveness, and genius of the animator. In most of the early animated films, there were few original plots, and the story-lines did not count. Most important were the gags, or the technical inventions of the animators ranging from the introduction of live actors to interact with cartoon characters, to improving the movement of the characters so that they did not shimmer, to devising ludicrous and preposterous scenes for the sake of spectacle. It did not matter what story was projected just as long as the images astounded the audience, captured its imagination for a short period of time, and left the people laughing or staring in wonderment. The purpose of the early animated films was to make audiences awestruck and to celebrate the magical talents of the animator as demigod. As a result, the fairy tale as story was a vehicle for animators to express their artistic talents and develop their technology. The animators sought to impress audiences with their abilities to use pictures in such a way that they would forget the earlier fairy tales and remember the images that they, the new artists, were creating for them. Through these moving pictures, the animators appropriated literary and oral fairy tales to subsume the word, to have the final word, often through image and book, for Disney began publishing books during the 1930s to complement his films.

  Of all the early animators, Disney was the one who truly revolutionalized the fairy tale as institution through the cinema. One could almost say that he was obsessed by the fairy-tale genre, or, put another way, Disney felt drawn to fairy tales because they reflected his own struggles in life. After all, Disney came from a relatively poor family, suffered from the exploitative and stern treatment of an unaffectionate father, was spurned by his early sweetheart, and became a success due to his tenacity, cunning, courage, and his ability to gather around him talented artists and managers like his brother Roy.

  One of his early films, Puss in Boots (1922), is crucial for grasping his approach to the literary fairy tale and understanding how he used it as self-figuration that would mark the genre for years to come. Disney did not especially care whether one knew the original Perrault text of Puss in Boots or some other popular version. It is also unclear which text he actually knew. However, what is clear is that Disney sought to replace all versions with his animated version and that his cartoon is astonishingly autobiographical.

  If we recall, Perrault wrote his tale in 1697 to reflect upon a cunning cat whose life is threatened and who manages to survive by using his brains to trick a king and an ogre. On a symbolic level, the cat represented Perrault’s conception of the role of the haute bourgeoisie (his own class), who comprised the administrative class of Louis XIV’s court and who were often the mediators between the peasantry and aristocracy. Of course, there are numerous ways to read Perrault’s tale, but whatever approach one chooses, it is apparent that the major protagonist is the cat.

  This is not the case in Disney’s film. The hero is a young man, a commoner, who is in love with the king’s daughter, and she fondly returns his affection. At the same time, the hero’s black cat, a female, is having a romance with the royal white cat, who is the king’s chauffeur. When the gigantic king discovers that the young man is wooing his daughter, he kicks him out of the palace, followed by Puss. At first, the hero does not want Puss’s help, nor will he buy her the boots that she sees in a shop window. Then they go to the movies together and see a film with Rudolph Vaselino as a bullfighter, a reference to the famous Rudolph Valentino. This spurs the imagination of Puss. Consequen
tly, she tells the hero that she now has an idea that will help him win the king’s daughter, provided that he will buy her the boots. Of course, the hero will do anything to obtain the king’s daughter, and he must disguise himself as a masked bullfighter. In the meantime Puss explains to him that she will use a hypnotic machine behind the scenes so he can defeat the bull and win the approval of the king. When the day of the bullfight arrives, the masked hero struggles but eventually manages to defeat the bull. The king is so overwhelmed by his performance that he offers his daughter’s hand in marriage, but first he wants to know who the masked champion is. When the hero reveals himself, the king is enraged, but the hero grabs the princess and leads her to the king’s chauffeur. The white cat jumps in front with Puss, and they speed off with the king vainly chasing after them.

  Although Puss as cunning cat is crucial in this film, Disney focuses most of his attention on the young man who wants to succeed at all costs. In contrast to the traditional fairy tale, the hero is not a peasant, nor is he dumb. Read as a “parable” of Disney’s life at that moment, the hero can be seen as young Disney wanting to break into the industry of animated films (the king) with the help of Ub Iwerks (Puss). The hero upsets the king and runs off with his prize possession, the virginal princess. Thus, the king is dispossessed, and the young man outraces him with the help of his friends.

  But Disney’s film is also an attack on the literary tradition of the fairy tale. He robs the literary tale of its voice and changes its form and meaning. Since the cinematic medium is a popular form of expression and accessible to the public at large, Disney actually returns the fairy tale to the majority of people. The images (scenes, frames, characters, gestures, jokes) are readily comprehensible by young and old alike from different social classes. In fact, the fairy tale is practically infantilized, just as the jokes are infantile. The plot records the deepest oedipal desire of every young boy: the son humiliates and undermines the father and runs off with his most valued object of love, the daughter/wife. By simplifying this oedipal complex semiotically in black-and-white drawings and making fun of it so that it had a common appeal, Disney also touched on other themes:

  (1) Democracy—the film is very American in its attitude toward royalty. The monarchy is debunked, and a commoner causes a kind of revolution.

  (2) Technology—it is through the new technological medium of the movies that Puss’s mind is stimulated. Then she uses a hypnotic machine to defeat the bull and another fairly new invention, the automobile, to escape the king.

  (3) Modernity—the setting is obviously the twentieth century, and the modern minds are replacing the ancient. The revolution takes place as the king is outpaced and will be replaced by a commoner who knows how to use the latest inventions.

  But who is this commoner? Was Disney making a statement on behalf of the masses? Was Disney celebrating “everyone” or “every man”? Did Disney believe in revolution and socialism? The answer to all these questions is simple: no.

  Casting the Commodity Spell with Snow White

  Disney’s hero is the enterprising young man, the entrepreneur, who uses technology to his advantage. He does nothing to help the people or the community. In fact, he deceives the masses and the king by creating the illusion that he is stronger than the bull. He has learned, with the help of Puss, that one can achieve glory through deception. It is through the artful use of images that one can sway audiences and gain their favor. Animation is trickery—trick films—for still images are made to seem as if they move through automatization. As long as one controls the images (and machines) one can reign supreme, just as the hero is safe as long as he is disguised. The pictures conceal the controls and machinery. They deprive the audience of viewing the production and manipulation, and in the end, audiences can no longer envision a fairy tale for themselves as they can when they read it. The pictures now deprive the audience of visualizing their own characters, roles, and desires. At the same time, Disney offsets the deprivation with the pleasure of scopophilia11 and inundates the viewer with delightful images, humorous figures, and erotic signs. In general, the animator, Disney, projects the enjoyable fairy tale of his life through his own images, and he realizes through animated stills his basic oedipal dream that he was to play out time and again in most of his fairy-tale films. It is the repetition of Disney’s infantile quest—the core of American mythology—that enabled him to strike a chord in American viewers from the 1920s to the present.

  However, it was not through Puss in Boots and his other early animated fairy tales that he was to captivate audiences and set the “classical” modern model for animated fairy-tale films. They were just the beginning. Rather, it was in Snow White and the Seven Dwarfs (1937) that Disney fully appropriated the literary fairy tale and made his signature into a trademark for the most acceptable type of fairy tale in the twentieth century. But before the making of Snow White, there were developments in his life and in the film industry that are important to mention in order to grasp why and how Snow White became the first definitive animated fairy-tale film—definitive in the sense that it was to define the way other animated films in the genre of the fairy tale were to be made.

  After Disney had made several Laugh-O-Gram fairy-tale films, all ironic and modern interpretations of the classical versions, he moved to Hollywood in 1923 and was successful in producing fifty-six Alice films, which involved a young girl in different adventures with cartoon characters. By 1927 these films were no longer popular, so Disney and Iwerks soon developed Oswald the Lucky Rabbit cartoons that also found favor with audiences. However, in February of 1928, while Disney was in New York trying to renegotiate a contract with his distributor Charles Mintz, he learned that Mintz, who owned the copyright to Oswald, had lured some of Disney’s best animators to work for another studio. Disney faced bankruptcy because he refused to capitulate to the exploitative conditions that Mintz set for the distribution and production of Disney’s films.12 This experience sobered Disney in his attitude to the cutthroat competition in the film industry, and when he returned to Hollywood, he vowed to maintain complete control over all his productions—a vow that he never broke.

  In the meantime, Disney and Iwerks had to devise another character for their company if they were to survive, and they conceived the idea for films featuring a pert mouse named Mickey. By September of 1928, after making two Mickey Mouse shorts, Disney, similar to his masked champion in Puss in Boots, had devised a way to gain revenge on Mintz and other animation studios by producing the first animated cartoon with sound, Steamboat Willie, starring Mickey Mouse. From this point on, Disney became known for introducing new inventions and improving animation so that animated films became almost as realistic as films with live actors and natural settings. His next step after sound was color, and in 1932 he signed an exclusive contract with Technicolor and began producing his Silly Symphony cartoons in color. More important, Disney released The Three Little Pigs in 1933 and followed it with The Big Bad Wolf (1934) and The Three Little Wolves (1936), all of which involved fairy-tale characters and stories that touched on the lives of people during the Depression. As Bob Thomas has remarked, “The Three Little Pigs was acclaimed by the Nation. The wolf was on many American doorsteps, and ‘Who’s Afraid of the Big Bad Wolf?’ became a rallying cry.”13 Not only were wolves on the doorsteps of Americans but also witches, and to a certain extent, Disney, with the help of his brother Roy and Iwerks, had been keeping “evil” connivers and competitors from the entrance to the Disney Studios throughout the 1920s. Therefore, it is not by chance that Disney’s next major experiment would involve a banished princess, loved by a charming prince, who would triumph over deceit and regain the rights to her castle. Snow White and the Seven Dwarfs was to bring together all the personal strands of Disney’s own story with the destinies of desperate Americans who sought hope and solidarity in their fight for survival during the Depression of the 1930s.

  Of course, by 1934 Disney was, comparatively speaking, wealthy. He
hired Don Graham, a professional artist, to train studio animators at the Disney Art School, founded in November 1932. He then embarked on ventures to stun moviegoers with his ingenuity and talents as organizer, storyteller, and filmmaker. Conceived some time in 1934, Snow White was to take three years to complete, and Disney did not leave one stone unturned in his preparations for the first full-length animated fairy-tale film ever made. Disney knew he was making history even before history had been made.

  During the course of the next three years, Disney worked closely with all the animators and technicians assigned to the production of Snow White. By now, Disney had divided his studio into numerous departments, such as animation, layout, sound, music, storytelling, etc., and had placed certain animators in charge of developing the individual characters of Snow White, the prince, the dwarfs, and the queen/crone. Disney spent thousands of dollars on a multiplane camera to capture the live-action depictions that he desired, the depth of the scenes, and close-ups. In addition, he had his researchers experiment with colored gels, blurred focus, and filming through frosted glass, while he employed the latest inventions in sound and music to improve the synchronization with the characters on the screen. Throughout the entire production of this film, Disney had to be consulted and give his approval for each stage of development. After all, Snow White was his story that he had taken from the Grimm Brothers and changed completely to suit his tastes and beliefs. He cast a spell over this German tale and transformed it into something peculiarly American. Just what were the changes he induced?

  (1) Snow White is an orphan. Neither her father nor her mother are alive, and she is at first depicted as a kind of “Cinderella,” cleaning the castle as a maid in a patched dress. In the Grimms’ version there is the sentimental death of her mother. Her father remains alive, and she is never forced to do the work of commoners such as wash the steps of the castle.