Abstract
The fairy tales are a cultural legacy continuing to have a powerful enchantment. The story became traditional not by being created but by being retold over the centuries and accepted in changing environments. At the beginning of the twenty-first century, fairy tales are still thriving and have diverse forms of narrative representations. Mainstream cinema today even shows great interest in producing fairy-tale films that seek to hold the attention of a global market with innovative and spectacular adaptations. This paper takes historical retrospect to survey dominant shifts in the reception of fairy tales, in particular the shift in a unique art form and narrative formula. From the féerie, Georges Méliès, Walt Disney, Angela Carter, and the twenty-first-century postmodern hybridity, the findings suggest that the representation of fairy tales shows a certain attitude towards the story, which reflects an aspect of cultural values, beliefs, and viewer preferences in the reception of fairy tales. Findings from this study also indicate that fairy-tale transmission is a feedback loop rolling around with tradition and innovation, taking on a meaning of their own.
Highlights
Fairy tales have been with us for a long history and influenced our culture profoundly
Georges Méliès, Walt Disney, Angela Carter, and the twenty-first-century postmodern hybridity, the findings suggest that the representation of fairy tales shows a certain attitude towards the story, which reflects an aspect of cultural values, beliefs, and viewer preferences in the reception of fairy tales
This paper aims to understand how fairy tales grant tellers and readers the freedom to respond to the text and generate meaning and function in reception
Summary
Fairy tales have been with us for a long history and influenced our culture profoundly. Creators appear or intend to create stories encoded with a set of dispositions and preferences Still, they are not in complete control of the meanings that are subsequently made since readers’ decoding positions are “no necessary correspondence,” says Hall (1993). This paper aims to understand how fairy tales grant tellers and readers the freedom to respond to the text and generate meaning and function in reception. It takes the process of historical retrospect to survey dominant shifts in the reception of fairy tales, in particular the shift in a unique art form and narrative formula. This paper discusses the féerie, Georges Méliès, Walt Disney, Angela Carter, and the twenty-first-century postmodern hybridity individually, focusing on the performance techniques, connotation, cultural resonance, and the contemporary cultural field of fairy tales their ongoing dynamics of distinction
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