Showing Rating details. More filters. Sort order. The cover looks innocent and cute, but what's inside this book is extremely graphic and explicit and I can honestly say I enjoyed it. I think from this moment on, the author has me scared for life in a good way regarding some of my favorite fairy tales. These stories were exciting, but were over way too quickly.
Nevertheless, they're meant as a quick read packed with sexual fantasies.
OATD: DuGar, Grace A - Passive and Active Masculinities in Disney’s Fairy Tale Films
Shoe Cindi's story is based on Cinderella. It was sexy and it was a brief summary of Cinderella's story. Cindi receives an invite to what she thought was an office party. To her surprise and delight, it turns out to be a naughty orgy.
Bed Rora's story is based on Sleeping Beauty. Rora needs sexual fulfillment that her boyfriend doesn't provide her. Her best friend and roommate steps in to give her exactly what she needs. Candy apple Candy's story is based on Snow White. Candy answers an ad for a porno movie based on Snow White and her seven men.
Once the camera starts recording, wow, it went there. This story has multiple partners, hence the reference to Snow White. I think Candy was really enjoying herself and let lose once the cameras started recording. As all the stories are explicit, I thought this story to be extremely graphic, daring and explicit. These stories are definitely for try-sexuals of erotica, who likes to try and mix it up a bit with their reading.
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View all 8 comments. Kitty rated it it was amazing Mar 15, X rated it really liked it Mar 11, Diamond girl rated it really liked it Feb 14, Sign me up! Create a free website or blog at WordPress. Vampires, Werewolves and Demons. Oh My! Fairytale Fantasies What if Cinderella was a modern girl with a thing for her boss and a little bit of exhibitionism? Some fairytales are NOT for kids.. Share this: Twitter Facebook.
Like this: Like Loading Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public. The femmes fatales, according to Sherwin, do not actually desire their male protagonists and have ulterior motives for their sexual relationships with them The men are not viewed as erotic objects, either by the spectator or the female lead, and Sherwin does not discuss cases in which men are the object of the erotic gaze, which implies that the objectification of males might not exist, upholding the binary of male subject and female object.
Thus, Sherwin denies the possibility of the objectification of men when it does in fact exist.
Male spectacle may be less common than female, but it does occur. Steve Neale addresses man-as-erotic-object and questions why the physical beauty that Mulvey says draws the gaze cannot be male as well as female Neale also points out that men are clearly subjected to the look, or else there could be no scenes without females in them Neale goes on to specify that when men are the object of the erotic female gaze, they are 19 feminized As he is adoringly gazed at and framed within the screen, the Disney prince loses masculine authority Over time, the way that Disney represents and films the prince has changed, as has the way females are represented.
The prince earns more individuality over time, as the generic story-book hero of the early films Snow White, Cinderella develops more personality Sleeping Beauty, The Little Mermaid , and then a sensitive side Beauty and the Beast, Aladdin. But this evolution involves only two major changes in almost sixty years of fairy tale films, a slow pace for chronological process. The term prince has also become more liberal, since Aladdin is not born a prince but becomes one through marriage.
Both are blandly handsome princes who facilitate happy endings for their respective princesses, Snow White and Cinderella, and neither of them develops as a character. They appear in only a fraction of the scenes, and the scenes in which they do appear expose their lack of personality and agency. The other male characters reflect some of the differences between the two time periods even though the princes do not, but even these characters do not offer examples of traditionally Victorian powerful, individualistic or strong masculinity.
The cultural differences of masculinity between these time periods are illustrated by the contrast between the Huntsman in Snow White and the King and the Grand Duke 21 in Cinderella. The Huntsman acts as a lone force, and although he fails to complete his task of killing Snow White, he ventures out alone and plans on acting without an accomplice. This type of masculinity—singular, independent, and unconcerned with family—reflects the male loner popular during the war years of the s.
By the s and s, increased importance of familial values and a return to domesticity mandated that this masculine role correspond to evil, not good Coontz The new hero was not a loner but a family man who valued stability, like the King in Cinderella. However, neither the familial nor the loner version of masculinity appears powerful or authoritative. The audience of both films may recognize different types of masculinity, but both kinds fail to live up to expectations of masculine authority. This cinematic technique insists on the separation of the diegesis of the film and the audience, and eliminates the kind of self-reflexive action other cartoons are known for Wells, 22 Animation and America 2.
Likewise, the films are animated in such a way as to mimic the way live-action films are shot. For example, the way that different characters are presented and portrayed on screen and their relationships to the narrative offer insight into their importance to the film.
This understanding reveals that the prince is one character whose value is notably low in these early films. In Snow White, the prince enters the picture when he first meets and shares a song with Snow White. They fall in love immediately, but he is absent from the rest of the film until the very end over an hour later when he enters the clearing where the dwarfs pay their respects to Snow White in her glass coffin. In this case, the addition of scenes that involve the prince does not translate to his having additional prominence within the film.
Prince Charming experiences the opposite treatment—subtraction of scenes—but to the same result. In both versions, the prince does not make an entrance until the ball where Cinderella meets him. This pseudo-appearance does nothing to enhance the development of Prince Charming as a character and, like the marginally-increased presence of the prince in Snow White, adds nothing to his character.
In the fairy tale, the prince himself goes searching for Cinderella and visits the other maidens who hope to wed him.
He sends his servants instead, and they make the rounds with the slipper. Cinderella has to orchestrate her own release, with the help of her domesticated animal friends, to try on the glass slipper. This scene is brief and relies on recognizable wedding tropes to signal the action that has just taken place but was not shown. Bells ring and onlookers toss rice to imply that the lovers have just been married.
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The cliches communicate the message so clearly that the newlyweds need only be shown briefly in order to achieve the desired effect. This scene acts as an epilogue to the rest of the tale, disconnected from the body of the film. By using this technique, Disney avoids showing more of the prince, who would logically be included in these scenes that are only implied. The close-up on the bells serves as an introduction to the new scene—the wedding.
Presumably, Cinderella has travelled to the castle, reunited with Prince Charming and prepared for her nuptials in the time in between the two scenes. However, that narrative action is not shown and only implied by the fact that the wedding has taken place. The quick transition glosses over part of the narrative and frames this final scene as a brief afterthought, which translates to even less screen time for the prince. Even though the prince may be present, he is often still hidden from view or harder to see than other characters, especially the princess.
The animation seems to avoid showing a clear picture of either prince as much as possible. One striking example of this, which invokes issues of the gaze, is that both princes appear in images at important times. Separating the prince from his appearance underscores his spectacular nature as something to be looked at. As mentioned earlier, in Cinderella the king shows off his larger-than-life portraits of Prince Charming long before the prince himself appears on screen, and Cinderella gazes at his reflection in the water on their romantic stroll.
Her view of him is distorted by the ripples in the water so that this reflection fails to faithfully represent the prince. Rippling water also distorts the reflection of Cinderella and Prince Charming as they gaze into it, even though Cinderella sees her own reflection perfectly clearly earlier in the film. As he approaches the castle wall 3 Cinderella looks into a fountain when she is by herself and her reflected image is accurate to her appearance, presumably because the water is still.
The extradiegetic view of him is interrupted by forces within the diegesis. This obfuscation is repeated when Prince Charming and Cinderella dance in dimly lit spaces after a very brief time waltzing in the well-lit ballroom. As they revolve, her features light up the screen: her bright blue eyes, pink lips, and white teeth are vibrant and contrast the dull, muddy visage of her dance partner, Prince Charming. These instances are examples that show that unadulterated views of both princes are rare—and when they do occur, the viewer sees the prince at an angle, from behind, or from far away.
While the faces of both princesses feature prominently in the films, both straight-on and close up, those of their male counterparts appear only fleetingly. The animation often zooms out or pans away from the prince to avoid having him in the shot. Similarly, Prince Charming appears on screen for short intervals, most less than five seconds long, and instead of staying in the frame as the various maidens step forward to be introduced, quick shots of him are intercut with longer takes of each maiden advancing toward him.
Instead of leaving the camera on the prince, Disney avoids showing him. Perhaps these efforts are less obvious when viewing the film because it is animated, not live-action. A non-animated film in which the hero is constantly obscured, omitted, avoided, and shown from behind would appear strange since such appearances are generally limited to villains and mysterious characters—not the love interest. But these princes are not evil or mysterious, so why are they treated this way?
The answer must be that they are less important figures. Marginalized to the outskirts of the screen, these heroes possess little significance, which contradicts the Victorian idea of absolute masculine authority. The actions, or lack thereof, of both princes also fail to adhere to traditional Victorian ideals. They are generally inactive and engage in no adventures in which to prove themselves daring or cunning. The two activities they do partake in are singing Snow White and dancing Cinderella , which are not traditionally Victorian masculine endeavors but the princesses seem to find them desirable.
They are not aggressive or competitive and although they appear to be physically fit, they show very little strength or athleticism. Prince 28 Charming bows slowly and stiffly, barely moving as he greets the maidens introduced to him and yawning as if even he is bored by his own passivity.
Snow White and the Seven Fetishes by Ruby Goodnight
He dances methodically and without passion. He first enters the film riding his horse along the castle wall, moving forward through no exertion of his own. In contrast, Snow White first appears vigorously scrubbing the castle steps, obviously exerting physical strength. All of these activities require dynamic movement and physical activity on her part.