Alfred Hitchcock By Roderick Heath In the late months of and througha battery of films hit movie screens that essentially initiated modern cinema.
Roald Dahl begins his version of Cinderella with this challenge to readers. This opening line sets the tone of the poem, which is rich with allusions to different influential versions of Cinderella from across time and place.
But, in the process of translation and adaptation, there is also an inevitable censorship. While translators and adapters interpret and interrogate a text, they present a version of the text that is coloured in a particular way.
Translators and adapters conceal and reveal, consciously and unconsciously, in response to multiple demands. They are under pressure from language, culture, society, law and media. Translators and adapters can approach their resulting artistic and social responsibility in a variety of ways.
Some may relish the power to obscure elements of the text. Others will take a pragmatic view and engage in a game of give-and-take. Krief seems to adopt the pragmatic approach, as we shall see.
Formal interpretants work at the level of the choice of word and style of the text. Thematic interpretants shape broader aspects, such as generic codes or cultural conventions. The critic examines the translation or adaptation from a particular perspective, presenting a series of claims as universally true.
These claims actually result from the critic interpreting, interrogating and censoring a translation or adaptation and its relation to the translated or adapted text.
This process is inevitable, but it is important to be aware of it. I am a white, British, female PhD student aged almost thirty, so I will handle my analysis in a certain way that is likely to differ from readings shaped by other nationalities, genders, social statuses and ages.
These versions stem from a range of cultures and were recorded in various languages. Inspired and influenced by these versions, Dahl and Krief make notable use of three elements of the Cinderella tale: The slipper The tale of Cinderella has shape-shifted considerably across time and place, during which her slippers have been made from different materials.
A significant and much-debated change was introduced by Charles Perrault in his French version of Cinderella, first published in In written medium, he recorded tales with predominantly oral sources, while adapting versions circulating in the literary salons. There have been numerous speculations as to the cause of this alteration: A means of updating, as the prestige and aristocratic associations of squirrel fur became lesser-known?
|Film reviews and commentary from Marilyn Ferdinand and Roderick Heath||Cinderella used to be one of my least-favorite fairy tales, and the animated Disney "classic" irritated me, even as a little girl.|
Perhaps even parodic word-play inserted by Perrault? Whatever the reason, this major shift has been inherited by most modern French and English readers of Cinderella.
In mid-nineteenth-century Germany, the Brothers Grimm produced their versions of Cinderella, in which she attended three balls wearing a different pair of slippers each time: The choice of footwear is particularly interesting, since silver aligns the shoe with the precious metals adopted by the Brothers Grimm, rather than the glass slipper of Perrault.Search the history of over billion web pages on the Internet.
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The decapitation in Dahl also recalls an earlier predecessor of Cinderella, an Italian tale called The Cat Cinderella, recorded by Giambattista Basile and published in the ’s.
There, Cinderella plots against her step-mother, who is looking into a chest when Cinderella drops the lid to decapitate her.