England et. al. (2011) identifies different behaviors that are defined as specifically feminine or masculine, and I will be using these as a guide in interpretations. In the majority of the pieces I analyzed, Cinderella is portrayed as a quintessentially feminine individual. The acceptation to this, Ever After, still portrays the Cinderella character with many traditionally feminine traits. Film portrays messages differently; a visual representation is provided that supposedly matches the ideals in the story. These tend to reflect societal images (Herbozo, Tantleff-Dunn, Gokee-Larose, & Thompson, 2004, p. 30). For example, when a character is described as ugly, the audience imagines certain attributes they consider to be ugly. Film takes away the process of imaging what is ugly and presents you with something that is ugly according to the artist. This concept is usually informed by cultural beauty standards. Adding a visual aspect to Cinderella has altered the messages, especially concerning gender roles, in
England et. al. (2011) identifies different behaviors that are defined as specifically feminine or masculine, and I will be using these as a guide in interpretations. In the majority of the pieces I analyzed, Cinderella is portrayed as a quintessentially feminine individual. The acceptation to this, Ever After, still portrays the Cinderella character with many traditionally feminine traits. Film portrays messages differently; a visual representation is provided that supposedly matches the ideals in the story. These tend to reflect societal images (Herbozo, Tantleff-Dunn, Gokee-Larose, & Thompson, 2004, p. 30). For example, when a character is described as ugly, the audience imagines certain attributes they consider to be ugly. Film takes away the process of imaging what is ugly and presents you with something that is ugly according to the artist. This concept is usually informed by cultural beauty standards. Adding a visual aspect to Cinderella has altered the messages, especially concerning gender roles, in