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Pinocchio: Difference between revisions
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[https://www.amazon.com/dp/B00EPDZXSC/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 Happily Ever After: Fairy Tales, Children, and the Culture Industry]<br /> | [https://www.amazon.com/dp/B00EPDZXSC/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 Happily Ever After: Fairy Tales, Children, and the Culture Industry]<br /> | ||
"How have the relatively new media of film and television affected traditional storytelling and stories, particularly fairy tales? Zipes is concerned with the "commodification" of fairy tales, a la Disney, where the films are designed more to sell a line of toys and other products than to present a story to an audience. Zipes traces the use of fairy tales in the acculturation process through various time periods, emphasizing the importance of being cognizant of the process itself." | "How have the relatively new media of film and television affected traditional storytelling and stories, particularly fairy tales? Zipes is concerned with the "commodification" of fairy tales, a la Disney, where the films are designed more to sell a line of toys and other products than to present a story to an audience. Zipes traces the use of fairy tales in the acculturation process through various time periods, emphasizing the importance of being cognizant of the process itself." | ||
==Pinocchio & Christianity== | ==Pinocchio & Christianity== | ||
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[[wikipedia:A.I._Artificial_Intelligence|A.I. Artificial Intelligence]] | Wikipedia — [https://www.youtube.com/watch?v=oBUAQGwzGk0 Trailer]<br /> | [[wikipedia:A.I._Artificial_Intelligence|A.I. Artificial Intelligence]] | Wikipedia — [https://www.youtube.com/watch?v=oBUAQGwzGk0 Trailer]<br /> | ||
[https://academic.oup.com/adaptation/article-abstract/14/3/367/5861113?redirectedFrom=fulltext Kubrick, A.I., and the Problem of Pinocchio]<br /> | [https://academic.oup.com/adaptation/article-abstract/14/3/367/5861113?redirectedFrom=fulltext Kubrick, A.I., and the Problem of Pinocchio]<br /> | ||
"Kubrick always faced and never successfully resolved a tension within his story between science and myth, between a narrative of scientific orientation (humanity evolving into machines) and a narrative of fantasy and myth (a machine-boy who becomes human)." | "Kubrick always faced and never successfully resolved a tension within his story between science and myth, between a narrative of scientific orientation (humanity evolving into machines) and a narrative of fantasy and myth (a machine-boy who becomes human)." | ||
[https://go.gale.com/ps/i.do?p=AONE&u=googlescholar&id=GALE%7CA128111697&v=2.1&it=r&sid=AONE&asid=2b7afc20 Growing nowhere: Pinocchio subverted in Spielberg's A.I. Artificial Intelligence]<br /> | [https://go.gale.com/ps/i.do?p=AONE&u=googlescholar&id=GALE%7CA128111697&v=2.1&it=r&sid=AONE&asid=2b7afc20 Growing nowhere: Pinocchio subverted in Spielberg's A.I. Artificial Intelligence]<br /> | ||
"What Collodi's novel celebrates is self-actualization in the context of community, a process that involves finding one's way imperfectly in a most decidedly imperfect world."<br /> | "What Collodi's novel celebrates is self-actualization in the context of community, a process that involves finding one's way imperfectly in a most decidedly imperfect world."<br /> | ||
"Collodi's puppet learns and grows until he becomes a real boy. Not so in Disney's film...Disney and his sources created a new image of Pinocchio-as-child: "In this new imagery no longer is the child's goal to grow up, mature, and transform. Rather, its goal is to be a good child, a loved and commended child, a child who enhances Family Harmony and promotes Family Solidarity. Its goal is to continue as a child!". Disney's puppet's purposeful non-growth means that he never develops individual initiative or judgment. '''The ideology of the film requires that the child not question received ideology'''. As Jack Zipes writes in Happily Ever After: Fairy Tales, Children and the Culture Industry, "Pinocchio will aim to please and will repress his desires and wishes first and foremost that his father is happy. '''Such a boy is easily manipulated for the good of the country, the good of the corporation, and the good of the Disney studio"'''."<br /> | "Collodi's puppet learns and grows until he becomes a real boy. Not so in Disney's film...Disney and his sources created a new image of Pinocchio-as-child: "In this new imagery no longer is the child's goal to grow up, mature, and transform. Rather, its goal is to be a good child, a loved and commended child, a child who enhances Family Harmony and promotes Family Solidarity. Its goal is to continue as a child!". Disney's puppet's purposeful non-growth means that he never develops individual initiative or judgment. '''The ideology of the film requires that the child not question received ideology'''. As Jack Zipes writes in Happily Ever After: Fairy Tales, Children and the Culture Industry, "Pinocchio will aim to please and will repress his desires and wishes first and foremost that his father is happy. '''Such a boy is easily manipulated for the good of the country, the good of the corporation, and the good of the Disney studio"'''."<br /> | ||
"If Collodi's Pinocchio grew ad hoc, Disney's was the result of a premeditated vision and a well-conceived marketing plan. That any differences between his film and Collodi's book are intentional is easily proven. Richard Wunderlich observes that, "It is clear that Disney was conscientious in his endeavor to know Collodi's Pinocchio: the Studio purchased several copies of the novel in both Italian and various English translations, as well as the plays by Remo Bufano and Adams T. Rice. Furthermore, Disney contracted to have his own translation written by Bianca Majolie (a staff member)". Unlike the journeyman freelancer Collodi, who accepted the invitation to write Pinocchio as just another writer's gig, Disney was aiming for a blockbuster. As Wunderlich tells it, "Drawing on the great popularity of his existing cartoon characters, audience familiarity with his studio name, and the tactics already learned and used to merchandise his creations in myriad ways, Disney launched a market saturation campaign to attract audiences for the upcoming film". In this respect, he is a precursor of Spielberg rather than an heir to Collodi."<br /> | "If Collodi's Pinocchio grew ad hoc, Disney's was the result of a premeditated vision and a well-conceived marketing plan. That any differences between his film and Collodi's book are intentional is easily proven. Richard Wunderlich observes that, "It is clear that Disney was conscientious in his endeavor to know Collodi's Pinocchio: the Studio purchased several copies of the novel in both Italian and various English translations, as well as the plays by Remo Bufano and Adams T. Rice. Furthermore, Disney contracted to have his own translation written by Bianca Majolie (a staff member)". Unlike the journeyman freelancer Collodi, who accepted the invitation to write Pinocchio as just another writer's gig, Disney was aiming for a blockbuster. As Wunderlich tells it, "Drawing on the great popularity of his existing cartoon characters, audience familiarity with his studio name, and the tactics already learned and used to merchandise his creations in myriad ways, Disney launched a market saturation campaign to attract audiences for the upcoming film". In this respect, he is a precursor of Spielberg rather than an heir to Collodi."<br /> | ||