Little Red Riding Hood and the Pedophile in Film: Freeway, Hard Candy and The Woodsman

"Little Red Riding Hood" is one of very few well-known fairy tales that have not come under what Jack Zipes calls "the Disney spell," which has ossified and Americanized so many others. Creators using various artistic genres have thus felt free to rewrite and reconceptualize it. The three "Little Red Riding Hood" films that we discuss explore, as a significant theme, adult-child sexual relationships. We argue that the "Little Red Riding Hood" story offers filmmakers and viewers a metaphorical tool for understanding relations between pedophiles and their victims in novel ways, opening up the possibility of a shift in perspective on this issue.    DOI: 10.1353/jeu.2010.0002 &nbsp

Critical Literacy in Fairytales: Through the Eyes of a Preschooler

Critical literacy theory says that students can make connections between a text and the meaning of its words, thereby, connecting it to societal ideas around them. Critical literacy in the classroom has often been tied back to various texts, including fairytales. When most think of critical literacy, the common idea is that it is used in an upper elementary classroom and the grades following. Various articles provide lots of insight into the minds of students in relation to critical topics; however, one age group has not been given much of an opportunity to participate in these discussions. This paper applies critical literacy to this age group--preschoolers. Through four fairytale lessons, students engaged in critical discourse with questions preplanned and facilitated by the researcher. This study aims to show that even young students can think critically about topics if they are challenged and provided with questions that push them to think about a topic

MORAL VALUE AFFECTION TO CHILD CULTURE DEVELOPMENT USING CHARLES PERRAULT'S “LITTLE RED RIDING HOOD”

Children's culture is important for their growth and development since it teaches them about habits, conduct, and way of life. Fairy tales can be useful in this regard. Fairy tales and the construction of children's culture have a deep connection because fairy tales contain an essential component that can aid in the formation of children's culture, namely moral values. It is intended that by using the moral message, children will learn the values of life, which will influence the formation of habits and behaviors. The researcher is interested in learning how the moral values of Charles Perrault's fairy tale, Little Red Riding Hood, affect children's cultural development. The Reader-response theory was used in this study, which lead to the outcome. By applying the moral value in life would affect the growth of the children's habits and personalities, which is affecting their insight of life so participants would be more prepared for facing any problems that came into their life and that will make participants' lives better and happier

Red Riding Hood Across Media: Transmedia Storytelling in Contemporary Adaptations of “Little Red Riding Hood”

The dissertation explores the complex structure of transmedial universes, which are the most prevalent and pervasive model in contemporary popular culture, and examines them within an interdisciplinary framework. In the chapter on the theoretical background of the research, in addition to general theories of adaptation, certain notions of media theory and transmedial narratology are included as well. Furthermore, as the title of the dissertation already indicates, the genre of the primary sources makes it necessary to incorporate relevant theories from the field of fairy tale studies as well, especially those referencing and relevant for the discussion of the story of “Little Red Riding Hood” in particular. The notion of transmedial microcosm used in this dissertation combines and complements Henry Jenkins's and Jan-Noël Thon's theories with Cristina Bacchilega's conception of the fairy-tale web. Transmedial microcosms thus designate and delineate specific groups of adaptations that are based on the same source text and recount narratives set within a shared storyworld, yet they are markedly distinct from other transmedial microcosms relying on the same source text. The dissertation analyzes five distinct groups of adaptations that can be understood as transmedial microcosms from within the transmedial universe of “Little Red Riding Hood.

Lechery, lycanthropy and Little Red Riding Hood in Type O Negative’s ‘Wolf Moon (Including Zoanthropic Paranoia)’

Type O Negative’s ‘Wolf Moon (including Zoanthropic Paranoia)’ seems to be a melodic ode to lascivious werewolves or to sexual intercourse during menstruation, which is transformative, allowing participation to channel animalistic instincts. Subject to more critical examination, ‘Wolf Moon (including Zoanthropic Paranoia)’ can also be presented as a contemporary incarnation of the ‘Little Red Riding Hood’ myth. Both contain the same themes: the stigmatization of eroticism, reclamation of agency, along with the nuances of gender identity and representation. Any Women’s Studies programme student is attuned to how storytelling and imagery of those within the story influence gender roles and their perceptions. Real-life themes are undoubtedly found within fairy tales as well, with a special emphasis on how women who do not remain in their proper place are punished because of it. In ‘Wolf Moon (including Zoanthropic Paranoia)’, the woman is rewarded for those experiences, by being permitted to indulge in her darkest desires. Meeting (or meating) a wolf that is hungry for you is nothing to fear in Type O Negative’s version of ‘Little Red Riding Hood’. Instead, it is the hallmark of a ‘great day’, and is something that should be celebrated. As ‘Little Red Riding Hood’ traverses onward throughout the western society’s cultural consciousness, one can only hope for further metal music acts interpretations of this infamous fairy tale. Representation matters, and the nuances of how the female gender has been portrayed throughout the centuries as reflected in the re-telling of a fairy tale is a subject that warrants a closer look through metal music and gender

The Female Genius: Voices and Images in Angela Carter’s and Kiki Smith’s Re-Imaginations of “Little Red Riding Hood”

Utgångsläget för den här interartistiska avhandlingen har varit att granska intertextualitet och intermedialitet i förhållande till text och bild i fem postmoderna och feministiska vuxenberättelser om “Rödluvan.” I min avhandling analyserar jag tre noveller av den brittiska författaren Angela Carter, som går under den gemensamma benämningen varg trilogin: “The Werewolf,” “In Company of the Wolves” och “Wolf-Alice.” Dessa literära verk utgavs i en större samling noveller kallad The Bloody Chamber år 1979. Dessutom har jag uvärderat två konstverk, s.k. visuella berättelser, av den amerikanska konstnären Kiki Smith nämligen skulpturen Daughter (1999) och litografin Born (2002). I min avhandling undersöker jag hur Angela Carter och Kiki Smith i rollen som sagoberättare ger uttryck åt huvudkaraktärernas övergång från barn till kvinna. Jag är intresserad av de olika feministiska uttryck som skapas under dessa övergångsriter och hur den intertextuella dialogen som uppstår runt den kvinnliga huvudkaraktären i berättelserna skapar ett kreativt tillstånd av ett kvinnligt geni. Huvudteorin fokuserar på den intertextuella linjen av Julia Kristeva, som också har utformat teorin om det kvinnliga geniet. Analysen är indelad i tre delar. I den första delen behandlas ideologemet den röda luvan och dess betydelse i relation till den mångfasetterade sagotraditionen Rödluvan, som består dels av en muntlig tradition av kvinnliga sagoberättare, dels av Charles Perrault och Jacob och Wilhem Grimms skriftliga berättelser. Del två fokuserar på ideologemet vargen och dess funktion som varning. Del tre behandlar de fem olika övergångsriterna. ”The Werewolf” presenterar en relativt traditionell övergångsrit där kunskap förmedlas från en äldre till en yngre generation, i vilken Carter kritiserar rådande könsnormer genom att skapa två självständiga och starka kvinnoporträtt. ”In Company of the Wolves” är en initiering till kvinnliga sexualitet. I den här berättelsen alluderar Carter direkt till myten om den passiva kvinnan och den heterosexuella manliga blicken. I ”Wolf-Alice” tar Carter upp begrepp som kvinnlig och manlig tid. Daughter berättar om hur det är att växa upp till kvinna med skägg, vilket väcker kritiska frågor som anspelar på sexuell identitet, traditionella könsroller och stereotypa kvinnobilder. Born tar upp frågor som kvinnlig tid, pånyttfödelse och stereotypa kvinnobilder. Genom de intertextuella företeelserna och det kvinnliga geniet inför Carter och Smith en ny feministisk och estetisk form av sagoberättande.fi=Opinnäytetyö kokotekstinä PDF-muodossa.|en=Thesis fulltext in PDF format.|sv=Lärdomsprov tillgängligt som fulltext i PDF-format

‘No, she’s not going anywhere’: Subversions of Virtuous Passivity and Condemned Agency in Modern Retellings of ‘Little Red Riding Hood’ and ‘Snow White’

This thesis examines how the depictions of femininity found in traditional versions of the fairy tales ‘Little Red Riding Hood’ and ‘Snow White’ are challenged in modern retellings from the 20th and 21st centuries. Analysing Jacob and Wilhelm Grimm’s version of these tales in their historical context, this thesis details how portrayals of femininity are reduced to the archetypes of the passive angelic heroine and the villainous assertive woman, to fit a socialisation process by the German middle class. Comparing Angela Carter’s The Bloody Chamber and Other Stories (1979) and Soman Chainani’s Beasts and Beauty: Dangerous Tales (2021) with the traditional tales demonstrates two vastly different approaches to using retellings as a mode to criticise the virtuous association to passivity and the punishment following an act of agency in female-led fairy tales. Carter uses erotic and pornographic elements to emphasise the imbalanced power structures between men and women seen in the traditional tales, whilst Chainani offers a more direct solution to the removal of the passive heroine with the inclusion of intersectionality and society’s role on the perception of identity. The main theoretical framework consists of using Marxist literary criticism as argued by Jack Zipes and Terry Eagleton and feminist literary criticism by Toril Moi and Marina Warner. By giving an account of their theories on how literature reflects society’s plights and the desire to rise from exploitation and how this, in turn, shape expectations of gender roles, this thesis examines how the fairy tale retelling manage to portray these struggles using the fairy tale structures without the misogynistic archetypes

Justifying what we do: Criteria for the selection of literacy and thinking tools

Teachers of English, along with teachers from across the curriculum, have a moral and professional responsibility to nurture literate thinkers. In this article I argue that teachers who accept this responsibility stand to teachers who don’t as imagination stands to memory, as co-construction in a discursive community of practice stands to transmission teaching, and as a sense of what strategic English teaching might be to what it sometimes is. Strategic teachers of English, like literate thinkers, deploy a range of literacy and thinking tools that help their students construct and deconstruct meaning. But what tools should we teach students? What criteria might we use to select those tools, and ultimately, to justify what we do? Nine selection criteria are proposed below, and then applied to evaluate the Effective Literacy Strategies in Years 9-13: A guide for teachers (MOE, 2004). Teachers who use these criteria to select literacy and thinking tools are more likely to nurture literate thinkers. But first, the description of these criteria is set in a wider context that inform

Story Network Theory, Dramaturgy, and Cinderella: an Interdisciplinary Methodization

Story network theory (SNT) is an analytical approach designed to form connections between chosen topics as well as to study those connections in their relations to stories, distinct story elements, and one another. This will provide a unifying process through which otherwise niche projects, information, or academic disciplines can be more effectively shared and accurately represented. Dramaturgy and fairy tale studies are utilized as an example application for SNT. Chapter Two involves Judith Roof’s work in “Out of the Bind: From Structure to System in Popular Narratives” as inspiration and introductory example of SNT elements, leading to the second half of the thesis which features Cinderella as the primary focus and case study. Dramaturgs doing research for individual productions or new works can find story network theory to be a helpful tool for communicating information. Along with dramaturgy, SNT is likely to help teachers and their students navigate stories together, other writers or creators, critics, or anyone simply curious enough about a story to do this type of analysis. This thesis is not an end or a means, but an exploratory beginning

CREATIVE INDUSTRIES: BEHIND THE SCENES INEQUALITIES

Film has been a major influence since its creation in the early 20th century. Women have always been involved in the creation of film as a cultural product. However, they have rarely been given positions of power in major film productions. Using qualitative approaches, I examine the different ways in which men and women directors approach creating film. I examine 20 films, half were directed by men and half by women. I selected the twenty films out of two movie genres: Action and Romantic Comedy. These genres were chosen because of their very gendered marketing. My focus was on the different ways in which gender was shown on screen and the differences in approach by men and women directors. The research showed differences in approach of gender but also different approaches in race and sexuality. Future studies should include more analysis on differences by race and sexuality