• Archives of design research
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• v.9
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• pp.401-418
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• 1994

A fairy tale of information by word of mouth gets to this day with admitting the change of period. A fairy tale reflects the morality of the education of children. The late 17th century, the information by an author of classical literature collects and the literature genre of children begins to fix. In 1697, Perrault publicates and is a volume of eight volumes' tale. Perrault describes that female children guard against male by annexing a figurative allusion. Sara Moon of a photography artist in 20th century expresses this theme by symbolic expression of illustration. Her illustration brings about many questions and becomes conscious of the veiled significance of sentences by author's consideration. She deletes the Perrault's preccept in substitution of bed photography and she substitutes a wolf with a car or a dog and a shadow, etc .. The illustration of Sara Moon gets ready a foundation of early sex education as reflecting a period. Now, an illustrator gets to rebirth a fairy tail as a new dramatizer of today.

• Cartoon and Animation Studies
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• s.44
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• pp.263-284
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• 2016

The transformation of plots using the archetypical narratives is not just a repetition of the past story, but finding a new suitable meaning for present time and society. Due to this, the story can be variated depending on what the transformation has the main point for. Disney's animation overcomes the narrative feature of the past classic fairy tale that worked only for particular age and people, and recognized as a contemporary story that can give impression to more various people. This study use Vladimir Propp's Morphology of the Folktale, Carl Gustav Jung's complexes and shadow theory to examine how this animation is modernly recreated by transforming the archetypical narrative. As a result, we can find characteristics of structure and function for contemporary story, and those also work with characters in the recreated animation. Through this study we discovered that Disney's animation is a transfiguration of archetypical narrative through the exhaustive analysis, and this could be the helpful research for the future creation of animation which uses the archetypical narratives.

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.