What is wrong with modern fairy-tales?
The classic fairy tale is very simple. She speaks the language of archetypes - the stable images and concepts that make up the experience of the people - and contains an ethical message that is transmitted from generation to generation. It has one story line and one main character (or heroine). The protagonist is always positive, he embodies kindness. The forces of evil are personified, the protagonist comes into conflict with them or tries to outwit them. Good and evil are clearly delineated so that the main idea is clear and convex. At the end of the fairy tale, good always triumphs, and the main character gets a well-deserved reward.
The above-mentioned films are author works, not folk art, they are subjective and speak the language of artistic images in the context of modern understanding of morality, in which good and evil are ambiguous, can change places or change with time.
For example, the very name of "Maleficent" 1 shows us that we will not meet with the usual fairy tale. This word means "Malicious," this is the name of an evil sorceress in a Disney cartoon. But in a classic fairy tale, an evil character can not be the main character.And it turns out that "Malicious" is kind. The contradiction is obvious.
In "Maleficente" there are two main characters with their storylines: the very Maleficenta and Princess Aurora. To this, several new messages are added, which relate to the relationship of a man and a woman (Maleficenta and Stefan) and relations of women among themselves (Maleficenta and Aurora). These new messages have not yet settled in the public consciousness, they require discussion, are subjective or reflect the opinion of only a part of people. In a classic fairy tale, this does not happen. The creators of the film play with modern adults.read also
What are you telling us ... fairy talesDifferent Goals
Classical fairy tales and new films based on fairy tales have different goals. The film raises questions, calls for arguing, analyzing, discussing. A fairy tale brings up, it is necessary for children as a moral code to get guidelines for the future, in accordance with which it is necessary to act in an adult world that is not yet understood. Therefore, a fairy tale reminds adults of these truths, and at the same time about childhood, comforts and calms. And new films rather excite and leave behind many open questions.
In many tales, the protagonist (the heroine) marries the princess (prince). The high social status of the spouse is a metaphor for that high, special place that our chosen or chosen one occupies in our inner world. Therefore, when the new film "Beauty and the Beast" ends in the fact that the Prince moves from the castle to his wife's house and trades flowers along with her, lowering his social status can be perceived as a decrease in his emotional significance.
In the classic version, the Beauty was to love the Beast, despite its outward disgrace, to discover its inner beauty: kindness, caring, ability to love. In the modern version, she falls in love with the Beast, already knowing that she is an enchanted prince, but also knowing that he mistakenly killed his previous wife, who was expecting a child from him. And if in the first case the moral message is simple and easy to read: "look deep into the person, not on appearance, but on behavior", in the second it is difficult to formulate and it seems ethically ambiguous.read alsoWhy we believe in Christmas tales A new look at femininity
In the archetypical world of fairy tales, only a man can awaken femininity, otherwise the girl will remain a sleeping beauty. In "Maleficente" there is an ironic rethinking of the plot: the prince's kiss is useless, and Aurora wakes up her kiss with the sorceress - it is a kiss, not sorcery. There is a shift and mixing of roles. The awakening of the princess is either not related to her femininity, or we must admit that this femininity is closed in herself, not directed at a man, not addressed to him. Given that Maleficent, according to the new version of events, was in the past the beloved of Stefan, the father of Aurora, the whole story takes on an incestuous tone.
The view of masculinity is also undergoing changes. The man ceases to be a protector and patron (the prince's kiss more "does not work"); Moreover, he becomes a rival in the struggle for power. Stefan cuts off the wings of Maleficent, takes away her ability to fly in order to become king.
In the fairy tale "The farther into the forest" 3 the prince also turns out to be untenable - we learn that after the wedding he is not averse to screwing up a romance with someone else.We are prompted by a new conclusion: a woman should no longer rely on a man, she must be able to stand up for herself. Are there such situations in life? Undoubtedly. But if we imagine a world where these particular cases are elevated to the level of an archetype, then one of the main oppositions will be weakened or completely disappear in such a world: a man is a woman. A woman will be able to push back a man, give up his support and even replace him with herself. But there is only one danger in such independence: one may not be fully alive, awaken, but not completely: humanity will wake up, but sexuality will remain awake.read also
"Once upon a time ..." according to Walt DisneyFairy tales for adults
New fairy-tale films are not modernizing old fairy tales, but modern subjects, in which there is no traditional happy end, many questions remain open, and good and evil come down from their usual places. These are tales rather for adults than for children. And how will they affect children? Perhaps the ambiguity of the characters makes perception difficult. After all, a fairy tale is the moral law of life. And even if in a fairy tale a man (a positive hero) can change, loyalty depreciates.If even in a fairy tale a woman can curse, retaliate and remain a positive heroine, then you can correct and forgive any behavior, say to yourself: "It's okay if I now go to baseness, then correct myself and again become a hero" ... But while the children are listening and read the classic old tales, they are unlikely to lose their moral reference points.1 "Maleficent" ("Maleficent"), dir. Robert Stromberg (2014). Cast: Angelina Jolie, El Fanning, Juneau Temple, Sharlto Copley, Sam Riley. At the heart of the film is a modified story about the Sleeping Beauty.