Walter Disney, born in Chicago on 5 December 1901 in a poor family, wrote the tale, “Cinderella.” Although encrypted as a text of the patriarchal instruction of morality, which demonstrates a sense of female agency as lacking by the definition. Besides, the film also classified as a fairytale, portrays the female character as an individual with unique characteristics that do not give a true picture.
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Cinderella, who is presented in the story as a non-hero of a suspicious tale, displays a rather deeper attraction as compared to the dominant archetypes. In this sense, she easily creates relationships, properly defines her destiny, show forgiveness to others, and further attracts magical support from others. All throughout the story, only the human characteristics are associated with Cinderella; instead, her indispensable mortality is depicted as her escape (Hallett, 12).
An effective transformation of the animal characters into the human servants and their subsequent disappearance during the late times of the night metaphorically outlines the inadequacy of the lower-level classes. The classes that are under the service of the upper-level classes, similar to the animals. Based on the observed trends of Walt Disney’s intentions to narrow down the evidenced gap created by the lacking texts and animal habitation, the whole story becomes clear. As a thesis statement, this analysis identifies a number of questionable absences that are not textually elaborated on. For instance, the failure of the Prince to secure a proper date on his leaves a vacuum for the justification of the reasons why a ball existed (Olfman 40).
An account of Cinderella starts with the absence of the mother. From the point of view of a fairytale, the state of being motherless symbolizes an absence of the maternal attention that is quite significant in the development of children. An additional concern is on the necessity of the mother considering the amount of handiwork expected at home to enable men remarry. The second scenario of an absence in the life of Cinderella is a fatherly figure. Although her mother passed on when Cinderella was possibly five years old, the love continued. While her father married another wife approximately a year afterward. Her two older stepsisters attended the wedding ceremony, at their ages of between eight years and twelve years old. The stepmother’s first husband passed on when a nearby witch’s small house burned down doubt of inflammable. “Almost instantly, and for the next 12 or so years, her stepmother hit Cinderella on a regular basis. She showed us an early on wound, right on the upper left section of her thigh, an indication of the mark made by a fire poker” (Schectman 289).
From the unavailability of the parents, Cinderella is also shown to lack other items such as good shelter, clothing, friends, and socializing opportunities like other female children. After facing such encounters, Cinderella then begins to experience the power of magic and a transformation in her life. After losing her pair of shoes while escaping from the midnight party, Cinderella appears again into the world of animals where she enjoyed the dominance, short of finery, broken down into basics. At this level, she is reduced to the minimum level of survival (Hallett 7). It is accurately public, “…but nothing that in the ultimate description does not leave her whole, virginal, mysterious, unemotionally tacit. In a statement, protected against the Cinderella that she is and that there exists…” (Schectman 288).
Her moral levels of appreciative triumph over bad, and beauty over disgusting contradictory shows how Cinderella is closely associated with nature in a number scenes. Superseding her natural beauty as demonstrated to testify her status, Cinderella chooses to linger with everyone, both the old and young, male or female without any discrimination. In the story development, for instance, a physical representation of her unconnected family via the spatial signifiers such as the attic imprisonment, a horse-drawn coach conveyance, and the final married into the royal family exists (Disney Archives 4).
Despite the good fortunes that finally developed, Cinderella’s most suited gift was that of the magic, which enabled her charm and beauty to shine brightly past her mere rags. This was showcased by her ability to attract the attention of the prince on his first sight on her. In the development of the store, Cinderella and the prince fall in love and for a while, people are left to wonder whether the two individuals from different backgrounds could do a wedding. The prince, since his childhood grew in a wealthy family made up of indulgent parents, while Cinderella grew without parents and in a poor family (Olfman, 33).
A key contrast in the story is that prior to the identification of Cinderella by the Prince, her presence is neither felt in the economic nor legal awareness in the country of her origin. Nonetheless, her presence is recognized at the party at a time that she had grown into a mature woman who was well decorated, and distinctively beautiful to attract many. The party she attends is equally not for the poor people, an indication of the absence of no poverty in the ball. From the glitters, none could tell that she was from the lower class families, and her ability to get an invitation to the Prince’s party. She then goes passed the castle gate, which was the end for the poor people (Lawson and Fouts, 166).
The analysis of the Disney film is significant in the provision of distinct intimate relationships for the adults’ well-being and mental health. Secondly, based on the perception that the media plays a crucial role in influencing children’s perceptions and that they carry such notions into their adulthood lives is factual. The Disney film categorically shades light into the adults’ romantic lives. Based on the known characters in the movie, the film inspires the cultural authority and legitimacy in teaching various values, roles, and ideas to children. Therefore, much relevance is on the evaluation of the romantic information and themes that the film has the potential of passing to the juveniles regarding relationships and love issues. The content of this material can be used in the institution and education of good morals within the society despite the divide based on the poverty disparity. From the film, the rich and the poor never mingle. However, the biasness was always towards the poor who were perceived as slaves and always cursed people. Cinderella’s ability to work against the odds and disparities is a demonstration of the power that the poor equally posses.
Disney Archives. “Cinderella Character History.” 2010: 1-4
Hallett, V. “The Pain behind Peter Pan United States News and World Report,” 2004: 6-18.
Lawson, A., and Fouts, G. “Mental illness in Disney animated films.” The Journal of Psychiatry, Canada (2004):49 (5), 165-169.
Olfman, S. “The Sexualization of Childhood,” 2009: 24-46.
Schectman, M. Jacqueline. “Cinderella and the loss of father’s love.” (n.d): 286-289