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I’m a perfectionist. As far back as
I can remember I’ve always been neat, tidy, and organized.
Since the age of five I’ve made my bed every morning
and folded my own laundry. While other kids were racing their
bikes,
I was rearranging my desk drawers and wrestling with furniture
in a pre-school, Feng Shui trance. Even now, at the age of
thirty, I make sure all my appliances are turned off before
I leave my house. I shudder to see creases in my bedspread,
and I’ve been known to drive down the street after
locking my front door, only to return ten minutes later and
rattle the doorknob another five times. All the hangars in
my closet must face the right direction, books are pushed
back against the shelves, tallest to shortest, and my DVD
collection is alphabetized.
I crave structure. I crave order. In my mind, life has a
clear and definite path, whether it is school, family, or
a personal relationship. When conversations go astray, when
plans develop kinks, I become anxious and nervous, choking
on panic like a dog on small bones. I need constancy. I need
stability. And perhaps this is why I’ve always loved
Walt Disney films, those vibrant fairy tales that pulse with
clear distinctions between good and evil, characters that
act according to their designated social standings, and endings
that celebrate eternal happiness for fortunate souls who
work hard and embrace positive values. As a child, Disney
films comforted me with their predictable formula. There
was never any doubt that Cinderella would go to the ball;
there was never any doubt that Dumbo would earn the respect
he deserved. Good always triumphed over evil, and every ending
radiated with consumer glee and happiness. Disney films filled
my childhood with Technicolor dreams, and I smiled as realism
succumbed to romance in the wake of catchy songs and never-ending
rainbows.
In the spectrum of Walt Disney characters, I’ve always
admired Snow White. It’s not her ravishing beauty,
or her ability to charm the animals. It’s not her undying
patience with the seven dwarfs or her porn-star voice that
crackles with girlish innocence. What I’ve loved about
Snow White is her dedication to housework, and her compulsive
need for organization! No matter how many times I watched
Disney’s version of the classic fairy-tale, she ignited
my passion for order when she waltzed into the dwarfs’ house,
set her hands on her hips, and proceeded to sweep the floor,
wash the clothes, dust the cobwebs, and cook a full course
dinner. She acted with a purpose, and I respected that. Plus,
she performed her work with such style and zeal, especially
after escaping from a murderous hunter and fleeing for her
life through a dark and menacing forest.
Recently, however, after rewatching Snow White and the
Seven Dwarfs, I realize how misogynistic the film is when compared
to the original story. That necessity for organization, which
I always admired, now seems more of a feminine requirement
than a fully realized attempt to create order in the world.
The original fairy tale by the Brothers Grimm is a battle
between good and evil, peppered with morals; it concerns
the theme of female jealousy, specifically an older woman’s
vicious jealousy toward the youth and beauty of a younger
one. The original fairy tale is a woman’s story that
reflects female fears, the major one being that a woman’s
worth is based on her beauty and appearance.
The 1937 film, however, is a thinly-disguised promo that
advertises women as “the angel in the house." Walt
Disney transformed a timeless fairy tale about jealousy and
innocence into an animated love story in which the male gender
is yet again superior and dominant over the female gender.
Disney has refocused the story to revolve around Snow White’s
womanhood and her yearning for Prince Charming, the man of
her dreams. This approach departs from traditional fairy
tales, which, as Iona and Peter Opie state in their introduction
to The Classic Fairy Tales, “are more concerned with
situation than with character." In a traditional fairy
tale the time period is irrelevant, characters are often
flat and one-dimensional, and endings are often unhappy.
Such fairy tales often contain excessive violence, an impending
sense of gloom, and continual suspense. Indeed, after reading
many traditional fairy tales, especially those by the Brothers
Grimm, we can see a thread of Gothicism that contributes
to the tales’ gruesome actions and somber atmosphere.
As regards the story of Snow White, both mediums (the original
fairy tale and the film version) employ the gothic to emphasize
their morals. In examining the two mediums, especially Disney’s
film, we must consider the relationship between gender and
the gothic. The typical gothic situation involves the pursuit
of innocence, usually in a romanticized female form, by evil,
usually represented by an evil male who hides in his phallocentric
castle and excels at sexual harassment. In the gothic novel,
female innocence typically wins out over male dominance.
Male villains in gothic fiction do not usually respect the
woman, which illustrates the point of view that many women
often expressed, especially those trapped within a male-dominated
audience and culture during the Romantic era when the gothic
novel flourished. For women, the gothic novel reinforced
their submissive role in society, but it also liberated them
from such roles by creating feminine heroes who triumphed
over their male oppressors. Obviously, Snow White
and the Seven Dwarfs differs from many gothic stories
in that Snow White is not being threatened by a man, but
by a woman, namely her evil stepmother.
In the 1937 Disney film, Snow White and the Seven Dwarfs,
the gothic is not just being used to express women’s
sense of imprisonment. While the original story of Snow White
is often ambivalent to gender, and uses the gothic simply
to illustrate the macabre results that often accompany evil
deeds, the Disney film employs a domesticated, didactic gothic
that designates boundaries where women are safe and unsafe,
where they are placed into feminine roles. The film begins
with a gothic atmosphere in which the queen consults her
magic mirror. The mirror represents the inner voice of the
narcissistic queen, a woman who treasures attractiveness
like an Avon consultant. Yet the mirror also represents the
voice of society, a population consumed by beauty and perfection,
and it is no mistake that the mirror’s voice is masculine.
This scene is steeped in blacks and reds, emphasizing the
queen’s villainy and malicious intents. Even the queen
herself appears gothic, sporting well-curved eyebrows, a
gaunt face, and high cheekbones. Brenda Ayers believes the
queen seems wicked because “she is not part of a family
enclosure; and her own house, a castle full of skeletons,
spider webs, and rats, represents a home deprived of domesticity." After
the queen learns she’s lost her title as the fairest
woman in the land, the film then cuts away to reveal the
viewer’s first glimpse of Snow White, a young child
who hums and sings while she performs menial labor. The colors
in this scene are bright and vibrant, a collection of whites,
yellows and greens. In contrast to the queen, Snow White
has rosy cheeks and a round face; she appears virginal and
doll-like. As she scrubs the castle steps and fetches water
from a well, the camera cuts to multiple close-ups of her
beaming face, thus implying that not only do women love to
perform such mundane household functions, but also that to
dress in tatty rags and haul heavy buckets under a hot sun
is pure domestic bliss.
Any child who watches Snow White and the Seven Dwarfs will
understand that the first two scenes are complete opposites.
One involves an evil queen fuming in a dark and gloomy part
of the castle; the other involves a beautiful girl who sings
and smiles while working outside in the dazzling sun. This
dichotomy prepares viewers for the film’s gothic elements
and also relays an important message: women are happiest
while working in a domestic element. As the scene suggests,
the bright colors create a sense of relaxation and contentment,
a sense of safety. The gothic elements, however, represent
those distant lands and opportunities that women should not
cross; Disney’s message is that the unknown harbors
countless dangers, and also that women would do well not
to stray too far on their own, away from security and masculine
protection. In Walt Disney’s Snow White and the
Seven Dwarfs, the gothic thus becomes a hindrance to a woman’s
happiness and familial obligations.
Looking into the well, Snow White sings, “I’m
wishing for the one I love to find me today." Suddenly,
Prince Charming appears, suggesting to children that not
only can wishes come true, but only the male gender can supply
them. As Snow White listens to the Prince sing his deepest
affections for her, a flight of doves congregate on her body
and fly into the air as though participants at a mock wedding.
These doves symbolize peace and love, and when one of them
lands on Prince Charming’s hand, it blushes coyly at
his chivalric stance and musical talent. This connection
between the Prince and the dove suggests that nature also
has a plan for Snow White; not only does society expect her
to marry the Prince and remain a faithful and obedient wife,
but nature does, as well, thus illustrating that a woman’s
place in society is not only cultural, but intrinsic and
habitual. Naomi Wood reflects on this mix of humor and social
values, writing, “On a psychological level I believe
that Disney’s popularity is in part based on the way
his movies explore the dynamic between controlled domestic
moralism on the one hand and chaotic ‘gags,’ ‘sexual
perversity,’ and polymorphous perversity on the other." The
cooing doves add romance and purity to the burgeoning love
story, yet a subliminal message hints that every woman needs
to be saved. Should the viewer assume that in order for Snow
White to have a happy future she needs to make a wish?
There are many elements of magic in Snow White and the
Seven Dwarfs, but their main role is to foster the love story that
Disney suggests is so important to the creation of the standard
American family, which, in 1937, required the submissive
wife to stay home and clean while the knowledgeable husband
dashed off to work like a gallant knight. Folklorist Kay
Stone believes that Disney “Americanizes" fairy
tales “by making the heroines and heroes more interesting,
adding humor, subtracting magic, and downplaying royalty." This “Americanization" of
the original tale, as Stone suggests, also implies that women
need a man to fulfill their happiness, and that man alone
can supply the magic and romance that so many women desire.
This idea promotes the male gender to a higher position of
power and awe, one that also implies dominance. That Snow
White resembles a doll also adheres to the film’s presentation
of her as an object who must constantly acquiesce to masculine
desires.
The original bestselling fairy tale by the Brothers Grimm
is quite short. The text announces Snow White’s birth,
her evil stepmother entering her life, and the importance
of the magic mirror in just a few short paragraphs. These
are situations that set up the story’s themes of innocence
and jealousy. The characters themselves do not develop and
grow in the traditional narrative sense; they are mere caricatures,
representative of the same emotions that reside in all human
beings. Also, in the fairy tale, the queen orders the huntsman
to kill Snow White and then return with her lung and liver.
Anticipating Hannibal Lector by at least one hundred years,
the queen salts the organs and devours them. The tale’s
focus on the lung and liver corresponds with the scientific
trend at that point in history, during which many scientists
believed that while the lungs supplied the body’s necessary
breaths, the liver was the principal organ of the human body
and developed first among all organs. At that time, many
scientists believed it was the liver, and not the heart,
where blood was formed, and thus the liver was the center
of the body’s circulation. By eating the lung and liver
of Snow White, the queen symbolically ingests the girl’s
life while also triumphing as the dominant woman, all so
she can simply cancel out the serious threat to her beauty
and happiness that Snow White unknowingly represents.
In the Disney film, however, the queen requests Snow White’s
heart instead of her lung and liver. This change makes sense
when we consider that Walt Disney wished to create a love
story and focus the film’s attention on domesticity.
That the queen is unable to have Snow White’s heart
fits better in the film because her heart is only meant for
Prince Charming. The queen, surrounded in her dungeon by
spiders and cobwebs, and ensconced in perpetual gloom, does
not deserve a man’s heart or his love. Here, the film
suggests that women who deprive themselves of a domestic
lifestyle will find themselves unable to develop and sustain
loving relationships. Like the queen, they will spend their
days angry and lonely, banished from all the familial responsibilities
and household chores that Walt Disney implies so many women
should yearn for as children. We must also remember the ancient
belief that eating the heart of an enemy makes a person stronger.
Clearly, the queen wishes to gain Snow White’s energy
and beauty, as well as the constant adoration Snow White
receives from her many admirers. It is this jealousy that
drives Snow White from her bubble of domestic bliss and into
the unknown gothic that symbolizes not only her independence,
but also her much-needed adolescence.
Reflecting on the film, I have to question whether my interest
in Snow White lies in my own private yearning for a fairy
tale romance. Certainly, some might label me a misogynist,
their claim being that because I admire Snow White I must
therefore desire a woman who lives in the kitchen and treats
me like a monarch. But the honest truth is that I see myself
in Snow White, not simply as the compulsive organizer who
cleans house, but as someone who craves a perfect future.
It is important to remember that readers do not always identify
with characters along gender lines. Also, I understand Snow
White’s emotions when she stands over the well and
wishes for the man of her dreams. Every day I bask in famous
love scenes: the tragedy of Gone with the Wind and the ache
of Love Story, the sacrifice of Casablanca, the fatalism
of Romeo and Juliet. I realize that Disney films are part
of the “manufactured dreams" of classic Hollywood
cinema. I am a junkie for such manufactured dreams, coveting
scenes where kisses land squarely and words connect in symmetrical
meaning. These are snapshots of a life bursting with impracticalities,
numbing the ache of realism. Challenged by passion, like
my friend Snow White, I constantly duel with perfection.
Like Snow White, I remain out in the open, avoiding the gloomy
woods whenever possible.
Like me, Snow White flees the gothic because she believes
it will not nurture her dreams. In Disney’s film, her
dream is to shun independence and embrace marriage, thus
her desire for order and security cancels out any feelings
of female autonomy. I recognize that problem, and I understand
how we can become trapped in such a situation. The unknown
can be frightening because it often represents change. To
embark on a journey alone, whether it is physical or emotional,
requires courage and dedication. For a girl like Snow White,
who spends her days in a safe and secure world, aimlessly
performing chores, the idea of maturity can seem hostile
and unattractive. The gothic represents a world where Snow
White would have to think for herself, and Disney makes it
clear that women straying into such territory is detrimental
to both women and society as a whole. While both the story
and the film illustrate a fundamental need to escape the
gothic, the film version links it to domestic stability,
whereas the fairy tale illuminates aspects of the human condition,
mainly jealousy and wrath.
Snow White does not realize the gothic is a gateway to independence;
to suffer is to learn, and Snow White must therefore suffer
before she can escape the comfort and security to which she
clings mindlessly. According to modern psychology, and also
alluded to in the Brothers Grimm version of the tale, Snow
White must rely on herself and assert her independence if
she hopes for a bright future. Basically, she must find the
courage to leave all that is familiar so she can experience
her adolescence, which all children require before they can
move into adulthood. Alas, Disney never allows Snow White
the chance to taste such independence, surrounding her instead
with small mammals and dwarfs who desperately need motherly
affection. As Brenda Ayers states, “That Disney mirrors
a Victorian tale is to say that Disney also perpetuates a
nineteenth-century notion of domestic ideology: Women are
to be submissive, self-denying, modest, childlike, innocent,
industrious, maternal, and angelic – all traits that
perfectly describe Snow White." Thus, at the end of
the film, Snow White remains an innocent doll, simply transferring
owners from the queen to Prince Charming. It should also
be noted that throughout the entire film, Snow White remains
trapped within the confines of domesticity, moving from one
enclosure to another, from the castle to a house and finally
to a glass coffin. There she rests, suspended in childhood
animation until Prince Charming eventually claims her and
returns her to yet another castle where she will no doubt
rejoice among piles of dirty laundry and stone floors in
desperate need of scrubbing. Adolescent passion has now been
molded into domestic submission.
In the original tale, Snow White exudes passion when she
begs the huntsman to spare her life. She begs not only for
her life, but for the chance to create a stable future. In
the film, though, the huntsman, weakened by her innocence,
takes pity on Snow White and commands her to run away and
never return. In the fairy tale, Snow White’s begging
not only represents a desire to live, but it also suggests
she is capable of thinking for herself and forming rational
decisions. In the film, however, Disney implies that the
huntsman abandons his murderous act because Snow White is
a poor, defenseless woman. By taking away the scene where
she thinks for herself, Disney further objectifies Snow White.
This decision allows the viewer to better understand why
she becomes horrified in the dark forest and must then begin
a new life in a brightly-colored domestic setting where,
once again, she feels comfortable performing household chores.
Snow White’s frenzied run through the forest is one
of the film’s highlights, as it clearly emphasizes
that she is confused, alone, and scared when faced with the
possibility of independence. The forest in which Snow White
finds herself is a staple of Gothicism with its dense woods
and claustrophobic atmosphere. In his text Gothic, Fred Botting
emphasizes the effect that darkness often has on an individual: “Shadows
marked the limits necessary to the constitution of an enlightened
world. Darkness, metaphorically, threatened the light of
reason with what it did not know. Gloom cast perceptions
of formal order and unified design into obscurity; its uncertainty
generated both a sense of mystery and passions and emotions
alien to reason."
The dark forest stifles Snow White because it is unfamiliar
and represents the leap into adolescence she so desperately
needs to make. To accentuate the gothic, Disney imbues the
scene with black and dark blue colors; shapes are difficult
to discern, and this uncertainty creates in the viewer the
same sense of panic and paranoia that exists in Snow White.
The forest, with its tall trees and dark colors, is masculine;
nature there is hostile, as trees and bushes grasp violently
at her clothes, angered at her trespassing into a territory
that Disney suggests is not meant for the female gender.
Furthermore, Snow White’s bright yellow outfit contrasts
with the gothic forest, thus illustrating, yet again, that
she is out of place and not meant for independence. Disney’s
message is that Snow White is safe and happy so long as she
remains childlike and embedded in a domestic setting. She
can be associated with nature so long as that association
is feminine, clearly marked by her maternal instincts towards
the stampede of animals that follow her around like toilet
paper stuck to the bottom of a shoe.
Snow White’s submissive need for domesticity continues
throughout the film, especially after her flight through
the dark forest. Sad and anxious, panicked and lost, the
most obvious remedy is to arrive at the dwarfs’ house
and indulge in some spring cleaning. Upon seeing the house
she remarks, “It’s so adorable! Just like a doll’s
house!" Again, Disney links the objectivity of women
with quaint domestic settings in which the birds sing and
the sun shines. No sooner does Snow White open the door and
step inside than she has a broom in one hand and a sponge
in the other. Walt Disney presents this cleaning spree as
instinctual, an obsession that women must fulfill; indeed,
the housekeeping calms Snow White, and she soon forgets her
dangerous romp through the forest.
In the fairy tale, however, Snow White makes an agreement
to cook and clean for the dwarfs in exchange for her room
and board. The dwarfs don’t want a vagrant, and they
know a bargain when they see one; they’re smart and
intelligent, not the comic sidekicks that exist in the film
version for eye candy and humor. In Disney’s Snow
White and the Seven Dwarfs, Snow White chooses to cook and clean;
it is in her nature, and she cannot suppress this desire.
Also, in the film version the dwarfs are symbolic of children,
and Snow White becomes the mother figure able to unleash
her maternal instincts, as seen when she refers to them as “seven
untidy children."
Though still in the dark forest, stranded far away from home,
she can now cope with her trauma because she is once again
immersed in a domestic environment. She is safe inside a
house performing motherly duties. Her kissing the dwarfs
on their way to work echoes the dutiful and obedient mother
who kisses her children before they head off to school in
the morning. This motherly attitude stems partly from Disney’s
naming of the seven dwarfs. In the fairy tale they remain
nameless, but in the film version they possess such creative
names as Sleepy and Sneezy. Bruno Bettelheim argues against
this textual change: “Giving each dwarf a separate
name and a distinctive personality seriously interferes with
the unconscious understanding that they symbolize an immature
pre-individual form of existence which Snow White must transcend.
Such ill-considered additions to fairy tales, which seemingly
increase the human interest, actually are apt to destroy
it because they make it difficult to grasp the story’s
deeper meaning correctly."
By presenting the dwarfs as children who cannot take care
of themselves, Disney emphasizes the film’s issue of
domesticity and implies that, for women, submissiveness and
menial chores are an inescapable part of their lives. In
the film version, the dwarfs become clowns whose constant
care hinders Snow White’s blossoming intellect and
ability to think for herself. By creating seven dwarfs who
are fun, lovable, and extremely child-like, Disney suggests
that they provide a happy and safe alternative to the gothic
woods, thus reinforcing the message that women should remain
home with their children and tend house.
In the fairy tale, however, the dwarfs continually chide
Snow White for falling prey to the queen’s plots. They
warn her of impending danger, and they must constantly save
her from death. They understand she is a child, and they
attempt to supply the necessary adult supervision that will
allow her to make intelligent decisions and mature. In the
fairy tale, they do not exist as mere comic relief. Rather,
they act as moral and intellectual guides, trying to help
Snow White develop so she can escape the fate that ultimately
awaits her.
In contrast to the Grimm’s fairy tale, Disney implies
that the need for independence and autonomy stalks women
continuously, as illustrated when the wicked queen, herself
symbolic of the gothic, discovers Snow White is alive and
plots her murder. That the queen poisons a gorgeous red apple
is reminiscent of the Garden of Eden. Just as Eve was tempted
by the tantalizing fruit, so is Snow White entranced by the
luscious apple. The apple represents nature, the serenity
and tranquility that often accompany domestic bliss. Or at
least Snow White believes it does; with its gothic spell,
the apple also seems to represent the sexuality of adolescence,
which, according to the film, is exactly what Snow White
should not possess. She is so innocent, however, that she
does not recognize her need for such maturity. Because Snow
White is associated with nature, though, the queen knows
Snow White will find the apple difficult to resist. The apple,
however, has been steeped in Gothicism, and Disney illustrates
this when the queen casts her magic spell and a skeletal
image covers the apple. Thus, it is not the apple itself,
but rather the gothic spell encasing the apple, that places
Snow White in her deathlike trance.
Clearly, the queen wishes to lure Snow White away from her
domestic environment, one without which the young girl cannot
survive. Although we cannot fault Snow White for falling
prey to the lure of the apple, we can fault the girl for
not sensing danger when the old beggar women, a grotesque
woman with warts and stringy hair, appears at the window
and interrupts Snow White’s daily chores. The hag’s
arrival in the forest is as strange and out of place as a
leper competing in a fashion show. Clearly, this is an example
of the gothic invading the domestic household, yet Snow White
does not realize it because she has never been given the
opportunity to develop those rational thinking skills that
might have allowed her to make those crucial connections.
The scene’s climax, in which Snow White bites into
the apple and collapses on the floor, seems to warn women
that such independence can kill their lifestyle; Disney implies
that women should be careful who they trust, lest they be
corrupted by the need to break away from the nuclear family.
At the end of the fairy tale, the queen attends Snow White’s
wedding and dies at the celebration when she’s forced
to don a pair of hot iron shoes and dance. Certainly, such
an ending is gruesome, but it is also well deserved and enhances
the moral that evil acts breed evil consequences. The film
version kills the queen by having her fall off a cliff in
the middle of a raging thunderstorm. This gothic atmosphere,
with its claps of thunder and peals of lightning, further
enforces the idea that women should steer clear of independence.
The queen herself is killed when lightning shatters the cliff.
She plummets to her death, only to be crushed by a massive
boulder. Here, Disney shows that Gothicism, hence freedom
and self-determination, is deadly to all women.
Yet the viewer may wonder why such a death even occurs if
the queen herself symbolizes the gothic. We can only assume
that by leaving her own safe environment, albeit a dark and
gloomy one, the queen places herself at the mercy of those
very same forces that drive Snow White through the forest
and deliver her into the dwarfs’ house. Just as Snow
White should have remained alone in the household, so should
the queen have remained alone in her gothic castle. The death
of the queen could also indicate the defeat of the “dangerous" freedom
that the gothic symbolizes. In either case, however, the
scene conveys that not only should women remain in their
comfort zones, but also that women should be mindful of each
other, as there clearly exists a battle for domestic space
and masculine attention.
To further the love story, Walt Disney has Snow White awaken
when the Prince kisses her, whereas in the story she awakens
when her glass coffin is moved and the apple falls from her
lips. This change in the story emphasizes the film’s
domesticity by suggesting that a woman can only be saved
by a man, thus implying that men have power over women. Disney
again stresses this idea at the end of the film when Prince
Charming places Snow White on his horse and leads her away.
He does not ride on the horse with her, rather he leads both
her and the horse, thus accentuating the idea that, like
the horse, Snow White is now merely a piece of property.
As a result, the viewer perceives her as more of an object
than as an individual woman, a doll to be shut in a glass
case and constantly admired.
I can empathize with Snow White. I understand her need for
compulsive cleaning, the obsession that drives her to organize
her life, and the overwhelming desire to wish for a future
bursting with bright lights and never-ending smiles. But
I also understand that her plight is gender-based, as well
as psychological. It’s taken me years to realize that
Snow White doesn’t have a choice. She might be obsessive,
and she might be compulsive, but she doesn’t know why.
The gothic beckons to her, waiting in the shadows with a
pencil and a notepad to offer her some much-needed therapy;
it wants to help guide her toward some semblance of freedom
and independence. In his film Snow White and the Seven
Dwarfs,
Walt Disney molds the gothic, much like the female gender,
into socially acceptable stigmas that clearly delineate a
woman’s place in society, and then he illustrates the
dangers inherent in trying to break free from those boundaries.
Although Snow White cannot be saved, her animated plight
has taught me that an obsessive desire for order may not
always produce happiness, nor may the days flow by effortlessly
as though adhering to a written text.
Sometimes it is best to wander into the woods.
March 2007
From guest contributor Michael Howarth
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